Top 10 animated movies of all time ( Photo Credit – IMDb )
Let’s take a trip down memory lane as we explore a curated selection of the greatest animated films ever crafted. If your favorite isn’t included, don’t worry; there may be a follow-up if this piece strikes a chord with readers. Animated movies, particularly those tailored for young audiences, have traditionally been led by Disney and its offshoot Pixar. Despite their continuous reinvention of beloved tales, both studios have gifted us a wealth of timeless animated treasures. So, without delay, let’s begin our cinematic voyage through the enchanting world of animation.
10. Cars (2006)
Director: John Lasseter, Joe Ranft (co-director) Cast: Owen Wilson, Paul Newman, Bonnie Hunt, Larry the Cable Guy Rotten Tomatoes Score: 75% IMDb Score: 7./10 Runtime: 1 hour 57 minutes Available on: Disney Plus (US & India)
On his journey to the most important race of his career, Lightning McQueen gets separated from his hauler truck,...
Let’s take a trip down memory lane as we explore a curated selection of the greatest animated films ever crafted. If your favorite isn’t included, don’t worry; there may be a follow-up if this piece strikes a chord with readers. Animated movies, particularly those tailored for young audiences, have traditionally been led by Disney and its offshoot Pixar. Despite their continuous reinvention of beloved tales, both studios have gifted us a wealth of timeless animated treasures. So, without delay, let’s begin our cinematic voyage through the enchanting world of animation.
10. Cars (2006)
Director: John Lasseter, Joe Ranft (co-director) Cast: Owen Wilson, Paul Newman, Bonnie Hunt, Larry the Cable Guy Rotten Tomatoes Score: 75% IMDb Score: 7./10 Runtime: 1 hour 57 minutes Available on: Disney Plus (US & India)
On his journey to the most important race of his career, Lightning McQueen gets separated from his hauler truck,...
- 3/26/2024
- by Hari P N
- KoiMoi
Randy Fullmer, an effects animator, visual effects supervisor, artistic coordinator and producer who worked at Disney for almost 20 years, has died after a lengthy battle with cancer. He was 73.
Over his nearly two decades at Disney, he did everything from work on the Toon Town portion of “Who Framed Roger Rabbit?” (his first gig at the studio) to working as an artistic coordinator on “The Lion King” to producing full Disney features like “The Emperor’s New Groove” and “Chicken Little.” A key and unsung player in the Disney Renaissance of the ‘80s and ‘90s, Fullmer’s legacy will live on.
Fullmer, who died July 10, in Woodland Hills, California, attended the California Institute of the Arts, a school co-founded by Walt Disney. After Fullmer graduated in 1974, he spent time working with Don Bluth, the Disney hotshot whose departure from the studio nearly crippled the animation department. Fullmer joined Bluth on his...
Over his nearly two decades at Disney, he did everything from work on the Toon Town portion of “Who Framed Roger Rabbit?” (his first gig at the studio) to working as an artistic coordinator on “The Lion King” to producing full Disney features like “The Emperor’s New Groove” and “Chicken Little.” A key and unsung player in the Disney Renaissance of the ‘80s and ‘90s, Fullmer’s legacy will live on.
Fullmer, who died July 10, in Woodland Hills, California, attended the California Institute of the Arts, a school co-founded by Walt Disney. After Fullmer graduated in 1974, he spent time working with Don Bluth, the Disney hotshot whose departure from the studio nearly crippled the animation department. Fullmer joined Bluth on his...
- 7/26/2023
- by Drew Taylor
- The Wrap
Roger Allers joined Disney in 1985, becoming part of a group of artists tasked with reviving public interest in Disney’s animated films by producing fresh theatrical releases. Allers directed his first feature picture, the Oscar-winning The Lion King (1994), which was adapted into a smash-hit Broadway musical.
The filmmaker spent the next many years at Disney, contributing to every animated feature film the company released. Among these are Beauty and the Beast, Aladdin, The Rescuers Down Under, The Little Mermaid, and The Prince and the Pauper. Allers would later leave the studio after one of his projects was rejected.
Roger Allers’ 1994 film ‘The Lion King’ was a massive success
#TheLionKing directors Roger Allers and Rob Minkoff say they wanted Malcolm-Jamal Warner to play Simba in the original film pic.twitter.com/Gs7YXEm7nb
— Variety (@Variety) July 10, 2019
Twenty-five years before Jon Favreau’s 2019 photorealistic remake, co-directors Allers, Rob Minkoff, and a...
The filmmaker spent the next many years at Disney, contributing to every animated feature film the company released. Among these are Beauty and the Beast, Aladdin, The Rescuers Down Under, The Little Mermaid, and The Prince and the Pauper. Allers would later leave the studio after one of his projects was rejected.
Roger Allers’ 1994 film ‘The Lion King’ was a massive success
#TheLionKing directors Roger Allers and Rob Minkoff say they wanted Malcolm-Jamal Warner to play Simba in the original film pic.twitter.com/Gs7YXEm7nb
— Variety (@Variety) July 10, 2019
Twenty-five years before Jon Favreau’s 2019 photorealistic remake, co-directors Allers, Rob Minkoff, and a...
- 2/27/2023
- by Produced by Digital Editors
- Showbiz Cheat Sheet
At last count, Disney Animation Studios has canonized 61 of their features. The central "Disney Canon" refers to an ill-defined section of the studio's animated feature output that, as far as one might surmise, serves as examples of the studio's preferred "house style." The Disney Animated Canon includes several animation styles and media, of course, but the 61 films in question are considered to be "official." Canonized Disney films cannot be co-productions, they must be pointedly toyetic, and are typically not auteur-driven. One might not be able to, for instance, recall the directors of "Cinderella" (1950) off the top of their head. Their names, incidentally, are Clyde Geronimi, Wilfred Jackson, and Hamilton Luske. The trio also directed Disney's animated films "Lady and the Tramp," "Peter Pan," and "Alice in Wonderland."
For Disney, though, the company is the auteur, and weird, smaller projects tend to be excluded from the Disney Canon. "A Goofy Movie,...
For Disney, though, the company is the auteur, and weird, smaller projects tend to be excluded from the Disney Canon. "A Goofy Movie,...
- 1/13/2023
- by Witney Seibold
- Slash Film
Are you looking to settle for a movie night with enchanting classics? We’ve got just what you need – an order breakdown of “Open Season” movies. Get ready to experience the roller-coaster ride of emotions that these fantastic animated films bring!
Weighing the heartwarming moments of big-hearted Boog (Martin Lawrence) and cuddly Elliot against their mischievous schemes and interactions with other woodland creatures, the “Open Season” franchise will bring your entire family together for an unforgettable adventure.
The “Open Season” movie series was created by Steve Moore and John B. Carls and produced by Sony Pictures Animation. It was released to the theatres by Columbia Pictures under Sony Pictures.
The movie was also released in the IMAX 3D format, and even a video game for the film was released on multiple platforms.
This blog post is perfect for anyone who loves animated comedy and wants to revisit the lovable characters from “Open Season.
Weighing the heartwarming moments of big-hearted Boog (Martin Lawrence) and cuddly Elliot against their mischievous schemes and interactions with other woodland creatures, the “Open Season” franchise will bring your entire family together for an unforgettable adventure.
The “Open Season” movie series was created by Steve Moore and John B. Carls and produced by Sony Pictures Animation. It was released to the theatres by Columbia Pictures under Sony Pictures.
The movie was also released in the IMAX 3D format, and even a video game for the film was released on multiple platforms.
This blog post is perfect for anyone who loves animated comedy and wants to revisit the lovable characters from “Open Season.
- 12/1/2022
- by Israr
- buddytv.com
“The Lion King,” a Disney Media Franchise, commemorated its 26th anniversary this past June. It is a genuine archetypal that can captivate audiences of all ages. The first Lion King film in the series was produced in 1994.
According to Environment Weekly, there were more than 600 animators involved in the production of “The Lion King” including animators, technicians, and other crucial figures. In fact, every moment was arduously explored, reorganized, and refined again which cost a lot of money, time, and a lot of headaches. And here’s the result – the great movie “The Lion King.”
The key to its success comes from its skilfully constructed characters who frequently walk and act like their real-life equivalents. The real-life lions were brought to the studio for the animators to study.
Beyond expectations, “The Lion King” movie proved immensely profitable and is the best-selling VHS of all time. The Lion Guard is an...
According to Environment Weekly, there were more than 600 animators involved in the production of “The Lion King” including animators, technicians, and other crucial figures. In fact, every moment was arduously explored, reorganized, and refined again which cost a lot of money, time, and a lot of headaches. And here’s the result – the great movie “The Lion King.”
The key to its success comes from its skilfully constructed characters who frequently walk and act like their real-life equivalents. The real-life lions were brought to the studio for the animators to study.
Beyond expectations, “The Lion King” movie proved immensely profitable and is the best-selling VHS of all time. The Lion Guard is an...
- 11/28/2022
- by Israr
- buddytv.com
The Disney Renaissance was a time of great experimentation for the Mouse House — one that saw its animation division tackling all sorts of challenging material, from ancient legends spanning cultures around the world to decidedly dark and mature literary classics by Victor Hugo and Edgar Rice Burroughs. But with great daring comes the risk of committing equal-sized blunders, and that's just what the studio did when it decided to turn the tale of the real-life Indigenous American woman Pocahontas (a nickname passed down by her father) into an animated musical extravaganza.
That's not just the hindsight talking. "Pocahontas" earned a lackluster critical reception upon its theatrical release in 1995, with reviews arguing it was stunningly animated but otherwise lacking in personality. The film's reputation has only worsened over the decades thanks to its soft-peddling of the violence perpetuated by European colonialism, along with its rehashing of Indigenous American stereotypes. Adding insult to injury,...
That's not just the hindsight talking. "Pocahontas" earned a lackluster critical reception upon its theatrical release in 1995, with reviews arguing it was stunningly animated but otherwise lacking in personality. The film's reputation has only worsened over the decades thanks to its soft-peddling of the violence perpetuated by European colonialism, along with its rehashing of Indigenous American stereotypes. Adding insult to injury,...
- 8/22/2022
- by Sandy Schaefer
- Slash Film
I've watched babies who have yet to speak their first words sit in front of a TV or an iPad and break into laughter as they watch cartoons. Every time, I ask myself: How are they laughing when they don't even understand what's going on? I wonder if I did the same as a toddler. I'm sure I did. For a long time, I claimed "The Mask" starring Jim Carrey as one of my favorite movies from my childhood but couldn't tell you the plot.
But one movie I know for sure I didn't do that to is "The Lion King." The 1994 Disney classic became one of my lifelong favorites the first time I saw it. I followed the plot seamlessly. A prince lion cub who can't wait to be king of the jungle gets spooked away by his jealous, evil uncle, who murders the king and takes the throne.
But one movie I know for sure I didn't do that to is "The Lion King." The 1994 Disney classic became one of my lifelong favorites the first time I saw it. I followed the plot seamlessly. A prince lion cub who can't wait to be king of the jungle gets spooked away by his jealous, evil uncle, who murders the king and takes the throne.
- 8/15/2022
- by J. Gabriel Ware
- Slash Film
If you’re a new parent, you know that finding quality movies for your toddler can be a challenge. You want something to keep them entertained, but you also wish to be educational and age-appropriate. Luckily, Disney has a wide selection of great movies for toddlers that will please everyone in the family.
Everything You Need to Know About Disney’s “Baymax!” Series
Disney movies are a cherished part of childhood for many young kids. From classic tales like Cinderella and Snow White to modern-day hits like Frozen, these movies capture kids’ imaginations around the world.
For toddlers, many Disney films can be a fascinating way to learn about the world around them. The vibrant colors and catchy songs help to engage young minds, and the stories often teach kids valuable life lessons.
Whether your toddler is fascinated by animals or loves to dance along with the songs, there will...
Everything You Need to Know About Disney’s “Baymax!” Series
Disney movies are a cherished part of childhood for many young kids. From classic tales like Cinderella and Snow White to modern-day hits like Frozen, these movies capture kids’ imaginations around the world.
For toddlers, many Disney films can be a fascinating way to learn about the world around them. The vibrant colors and catchy songs help to engage young minds, and the stories often teach kids valuable life lessons.
Whether your toddler is fascinated by animals or loves to dance along with the songs, there will...
- 4/8/2022
- by Israr
- buddytv.com
“Welcome to Siegheilkirchen” not only honors Manfred Deix, one of Austria’s most revered cartoonists and satirists, it also marks the country’s first ever animated feature film.
Unspooling in Gala Premieres at the Zurich Film Festival, the film follows a kid whose immense talent for drawing gives him an outlet for his discontent while growing up in a small conservative Austrian town, where Nazi sympathy is still very prevalent. Deix initially worked on the project as art director before his death in 2016.
For Marcus H. Rosenmüller, “Welcome to Siegheilkirchen” has been long in the making. It was the first animated film for the celebrated German filmmaker, who joined the project nearly a decade ago after producers Josef Aichholzer and Ernst Geyer convinced Deix of making a film based on his work and partly inspired by his life.
Development on the film took several years and the process became a learning experience for Rosenmüller,...
Unspooling in Gala Premieres at the Zurich Film Festival, the film follows a kid whose immense talent for drawing gives him an outlet for his discontent while growing up in a small conservative Austrian town, where Nazi sympathy is still very prevalent. Deix initially worked on the project as art director before his death in 2016.
For Marcus H. Rosenmüller, “Welcome to Siegheilkirchen” has been long in the making. It was the first animated film for the celebrated German filmmaker, who joined the project nearly a decade ago after producers Josef Aichholzer and Ernst Geyer convinced Deix of making a film based on his work and partly inspired by his life.
Development on the film took several years and the process became a learning experience for Rosenmüller,...
- 9/26/2021
- by Ed Meza
- Variety Film + TV
For the 30th anniversary of The Little Mermaid I wanted to reshare this piece I wrote about the movie ages ago. Still one of my favourite essays - Nathaniel R
The Little Mermaid (1989) | Directed by Ron Clements and John Musker Screenplay by Roger Allers, Ron Clements, and John Musker (very loosely based on the Hans Christian Andersen fairy tale) | Music by Alan Menken Lyrics by Howard Ashman | Starring the Voices of: Jodie Benson, Pat Carroll, Kenneth Mars and Samuel E Wright | Production Company Walt Disney | Released 11/17/1989
American members of Generation Y or Z and beyond may have a good deal of trouble imagining this but it's true: once upon a time, animated movies were considered highly uncool. They were strictly for babies. Teenagers disdained them. Adults took their children under duress. They barely caused a ripple at the box office. The Academy of Motion Pictures Arts and Sciences ignored them.
The Little Mermaid (1989) | Directed by Ron Clements and John Musker Screenplay by Roger Allers, Ron Clements, and John Musker (very loosely based on the Hans Christian Andersen fairy tale) | Music by Alan Menken Lyrics by Howard Ashman | Starring the Voices of: Jodie Benson, Pat Carroll, Kenneth Mars and Samuel E Wright | Production Company Walt Disney | Released 11/17/1989
American members of Generation Y or Z and beyond may have a good deal of trouble imagining this but it's true: once upon a time, animated movies were considered highly uncool. They were strictly for babies. Teenagers disdained them. Adults took their children under duress. They barely caused a ripple at the box office. The Academy of Motion Pictures Arts and Sciences ignored them.
- 11/17/2019
- by NATHANIEL R
- FilmExperience
Further new openers include Lionsgate’s ‘Farming’, eOne’s ‘The Day Shall Come’.
Two contrasting titles are among the new openers at the UK box office this weekend, as Universal’s animated comedy Abominable goes up against Paramount’s Will Smith action drama Gemini Man.
However the new openers will have to score strongly to knock Warner Bros’ Joker from top spot, which scored a huge £12.6m debut last weekend.
Abominable is a DreamWorks Animation production, about a magical Yeti in Shanghai on a quest to reunite with his family on Mount Everest. Chloe Bennet, Albert Tsai and Tenzing Norgay Trainor lead the voice cast.
Two contrasting titles are among the new openers at the UK box office this weekend, as Universal’s animated comedy Abominable goes up against Paramount’s Will Smith action drama Gemini Man.
However the new openers will have to score strongly to knock Warner Bros’ Joker from top spot, which scored a huge £12.6m debut last weekend.
Abominable is a DreamWorks Animation production, about a magical Yeti in Shanghai on a quest to reunite with his family on Mount Everest. Chloe Bennet, Albert Tsai and Tenzing Norgay Trainor lead the voice cast.
- 10/11/2019
- by 1101321¦Ben Dalton¦26¦
- ScreenDaily
Jon Favreau’s The Lion King is beginning its predicted mammoth run at the box office today. And in more ways than one – but trust me, not all of them are good – the presence of the 1994 animated classic can be felt in every scene. That’s probably because this latest film is, in truth, little more than a digitally upgraded imitation.
But I digress. As the roar for the surefire blockbuster grows stronger, conversations have picked up about the original Oscar-winner. Regularly regarded as one of the greatest animated films ever made, Roger Allers and Rob Minkoff’s The Lion King also contains one of Disney’s most debated urban legends.
It comes up about two-thirds of the way through the film, when Simba (now grown and using the voice of the great Matthew Broderick), Timon and Pumbaa are laying on their backs and looking up towards the stars. Simba...
But I digress. As the roar for the surefire blockbuster grows stronger, conversations have picked up about the original Oscar-winner. Regularly regarded as one of the greatest animated films ever made, Roger Allers and Rob Minkoff’s The Lion King also contains one of Disney’s most debated urban legends.
It comes up about two-thirds of the way through the film, when Simba (now grown and using the voice of the great Matthew Broderick), Timon and Pumbaa are laying on their backs and looking up towards the stars. Simba...
- 7/19/2019
- by Luke Parker
- We Got This Covered
Co-directed by Roger Allers and Rob Minkoff, Disney’s 1994 animated movie The Lion King won Academy Awards for original score (Hans Zimmer) and the original song "Can You Feel the Love Tonight" (by Elton John & Tim Rice), as well as the Golden Globe Award for Best Motion Picture – Musical or Comedy. In 1997, the stage production made its Broadway debut, winning six Tony Awards; 22 years later, it still remains one of Broadway’s biggest hits, recently marking its 9,000th show. The beloved Disney classic also inspired two direct-to-video follow-ups – The Lion King II: Simba's Pride (1998), and The Lion King 1½ (2004) – and two television series, Timon and Pumbaa and The Lion Guard. Now, after the critical and financial success of 2016's The Jungle Book remake, director Jon Favreau is utilizing the same photorealistic computer animation technology to re-tell the story of The Lion King for contemporary audiences in an immersive way. The Lion King...
- 7/18/2019
- by Adam Frazier
- firstshowing.net
Mark Harrison Jul 18, 2019
Sequels and spin-offs and remakes, oh my! We examine the many extensions of Disney's classic, from direct-to-video movies to TV spin-offs
This Lion King article comes from Den of Geek UK.
The Lion King was an enormous hit for Disney back in 1994, and 25 years later, it seems likely it will imminently be an enormous hit again. But between Roger Allers and Rob Minkoff’s animated favorite and Jon Favreau’s “live-action” remake, the House of Mouse has not shied away from turning it into a franchise with various sequels and TV shows.
At the time the animated version was originally released, the studio was riding high on the critical and financial success of its 1990s renaissance, which started with The Little Mermaid and arguably peaked here. Having only created one sequel up to this point (1990’s The Rescuers Down Under), the studio’s feature division didn...
Sequels and spin-offs and remakes, oh my! We examine the many extensions of Disney's classic, from direct-to-video movies to TV spin-offs
This Lion King article comes from Den of Geek UK.
The Lion King was an enormous hit for Disney back in 1994, and 25 years later, it seems likely it will imminently be an enormous hit again. But between Roger Allers and Rob Minkoff’s animated favorite and Jon Favreau’s “live-action” remake, the House of Mouse has not shied away from turning it into a franchise with various sequels and TV shows.
At the time the animated version was originally released, the studio was riding high on the critical and financial success of its 1990s renaissance, which started with The Little Mermaid and arguably peaked here. Having only created one sequel up to this point (1990’s The Rescuers Down Under), the studio’s feature division didn...
- 7/18/2019
- Den of Geek
Memorable music, story, characters, animation and dialogues. There's a lot of love that fans continue to have for the 1994 film "The Lion King" 25 years on, even as it comes full 'circle' and many await the 2019 version which hits the screens next month.
The original film, considered an animation masterpiece, was released on June 15, 1994, and was not just widely lauded critically, but received huge commercial success.
Comic Con India paid a tribute to the film with a special Instagram post featuring the character Rafiki. The caption read: "It has been 25 years since Lion King roared its way right into our hearts. Happy Silver Jubilee, Lion King and Hakuna Matata, everyone!"
Directed by Roger Allers and Rob Minkoff, its narrative follows a lion cub Simba in the African savannah. Simba idolises his father King Mufasa and takes to heart his own royal destiny. But not everyone in the kingdom celebrates the new cub's arrival.
The original film, considered an animation masterpiece, was released on June 15, 1994, and was not just widely lauded critically, but received huge commercial success.
Comic Con India paid a tribute to the film with a special Instagram post featuring the character Rafiki. The caption read: "It has been 25 years since Lion King roared its way right into our hearts. Happy Silver Jubilee, Lion King and Hakuna Matata, everyone!"
Directed by Roger Allers and Rob Minkoff, its narrative follows a lion cub Simba in the African savannah. Simba idolises his father King Mufasa and takes to heart his own royal destiny. But not everyone in the kingdom celebrates the new cub's arrival.
- 6/15/2019
- GlamSham
Now that Aladdin has marked the beginning of the Mouse summer with an estimated $80-100 million opening, all eyes will be on Disney’s next big reimagining, The Lion King. And already, it’s looking like the company will have another huge hit on their hands.
According to BoxOfficePro, the reimagining of the 1994 animated classic is projected to make between $180-230 million its opening weekend. If this were to come true, The Lion King would surpass the premiere grosses of other Disney remakes Beauty and the Beast ($174.7 million) and Alice In Wonderland ($116.1 million), both of which would go on to surpass $1 billion at the global box office.
But this wouldn’t be the first time the Hamlet-with-animals story achieved financial success. The Roger Allers and Rob Minkoff-directed film ended its run in theaters as the second-highest grossing pic of 1994 – just $17 million behind Best Picture winner Forrest Gump. Adjusted with inflation,...
According to BoxOfficePro, the reimagining of the 1994 animated classic is projected to make between $180-230 million its opening weekend. If this were to come true, The Lion King would surpass the premiere grosses of other Disney remakes Beauty and the Beast ($174.7 million) and Alice In Wonderland ($116.1 million), both of which would go on to surpass $1 billion at the global box office.
But this wouldn’t be the first time the Hamlet-with-animals story achieved financial success. The Roger Allers and Rob Minkoff-directed film ended its run in theaters as the second-highest grossing pic of 1994 – just $17 million behind Best Picture winner Forrest Gump. Adjusted with inflation,...
- 5/25/2019
- by Luke Parker
- We Got This Covered
Disney broke the internet on Thanksgiving with the world premiere of the teaser trailer for Jon Favreau’s “The Lion King.” The clip has already earned over 10 million views on YouTube in less than 24 hours for giving audiences a first look at Simba, Pride Rock, Rafiki, and more, all rendered in the same jaw-dropping CGI Favreau used on his 2016 “Jungle Book” adaptation.
As many fans quickly noticed, the first “Lion King” teaser is essentially a shot-for-shot remake of the opening sequence from Disney’s original 1994 animated film, directed by Roger Allers and Rob Minkoff. The Twitter account for the “Lights, Camera, Pod” podcast has released a comparison video putting Favreau’s “live action” footage next to the animated shots. The side-by-side video has earned over 3 million views and counting on Twitter alone, and it proves just how lifelike the CGI is that’s being used on the new “Lion King.
As many fans quickly noticed, the first “Lion King” teaser is essentially a shot-for-shot remake of the opening sequence from Disney’s original 1994 animated film, directed by Roger Allers and Rob Minkoff. The Twitter account for the “Lights, Camera, Pod” podcast has released a comparison video putting Favreau’s “live action” footage next to the animated shots. The side-by-side video has earned over 3 million views and counting on Twitter alone, and it proves just how lifelike the CGI is that’s being used on the new “Lion King.
- 11/23/2018
- by Zack Sharf
- Indiewire
The 1994 animated film The Lion King was a critical and commercial hit and beloved by families. The Disney movie won two Oscars and has grossed more than $968 million worldwide.
The animated version was directed by Roger Allers and Rob Minkoff, with a voice cast that included Matthew Broderick, James Earl Jones, Jeremy Irons, Moira Kelly, Nathan Lane, Ernie Sabella, Robert Guillaume, Rowan Atkinson, Jonathan Taylor Thomas, Madge Sinclair, Whoopi Goldberg and Cheech Marin.
In September 2016, it was announced that Disney is doing a CGI remake of the film with Jon Favreau set to direct. The cast of ...
The animated version was directed by Roger Allers and Rob Minkoff, with a voice cast that included Matthew Broderick, James Earl Jones, Jeremy Irons, Moira Kelly, Nathan Lane, Ernie Sabella, Robert Guillaume, Rowan Atkinson, Jonathan Taylor Thomas, Madge Sinclair, Whoopi Goldberg and Cheech Marin.
In September 2016, it was announced that Disney is doing a CGI remake of the film with Jon Favreau set to direct. The cast of ...
- 11/17/2017
- The Hollywood Reporter - Film + TV
The 1994 animated film The Lion King was a critical and commercial hit and beloved by families. The Disney movie won two Oscars and has grossed more than $968 million worldwide.
The animated version was directed by Roger Allers and Rob Minkoff, with a voice cast that included Matthew Broderick, James Earl Jones, Jeremy Irons, Moira Kelly, Nathan Lane, Ernie Sabella, Robert Guillaume, Rowan Atkinson, Jonathan Taylor Thomas, Madge Sinclair, Whoopi Goldberg and Cheech Marin.
In September 2016, it was announced that Disney is doing a CGI remake of the film with Jon Favreau set to direct. The cast of ...
The animated version was directed by Roger Allers and Rob Minkoff, with a voice cast that included Matthew Broderick, James Earl Jones, Jeremy Irons, Moira Kelly, Nathan Lane, Ernie Sabella, Robert Guillaume, Rowan Atkinson, Jonathan Taylor Thomas, Madge Sinclair, Whoopi Goldberg and Cheech Marin.
In September 2016, it was announced that Disney is doing a CGI remake of the film with Jon Favreau set to direct. The cast of ...
- 11/17/2017
- The Hollywood Reporter - Movie News
The house lights dim, the sun rises on its first performance, and a powerful voice belts out: “Nants ingonyama bagithi Baba,” the first lyrics of “Circle of Life.” Lindiwe Dlamini, a member of the ensemble dressed in a white dress, holding African bird puppets in either hand with another on her head, nervously waits in the wings as she readies to take the stage in the opening number of Disney’s Broadway adaptation of The Lion King, the 1994 animated hit film about a lion cub who overcomes adversity and accepts responsibility for his pride and land to become king of the jungle.
“You didn’t know how the audience was going to receive it, [but] the energy was beyond belief,” Dlamini recalls to Et. The actress was 29 years old when she was cast in The Lion King, which opened on Broadway at the New Amsterdam Theatre on Nov. 13, 1997. The show later transferred to the Minskoff Theatre in 2006, where...
“You didn’t know how the audience was going to receive it, [but] the energy was beyond belief,” Dlamini recalls to Et. The actress was 29 years old when she was cast in The Lion King, which opened on Broadway at the New Amsterdam Theatre on Nov. 13, 1997. The show later transferred to the Minskoff Theatre in 2006, where...
- 11/10/2017
- Entertainment Tonight
Last night at the Minskoff Theatre, The Lion King celebrated a huge milestone- 20 years on Broadway. Creative team members Julie Taymor, Tim Rice, Garth Fagan, Lebo M., Mark Mancina, Roger Allers, and Irene Mecchi joined hundreds of alumni and others for a special performance of the show, culminating in a surprise performance by The Lion King's Tony-nominated composer Elton John.
- 11/6/2017
- by Jennifer Broski
- BroadwayWorld.com
Last night at the Minskoff Theatre, The Lion King celebrated a huge milestone- 20 years on Broadway. Creative team members Julie Taymor, Tim Rice, Garth Fagan, Lebo M., Mark Mancina, Roger Allers, and Irene Mecchi joined hundreds of alumni and others for a special performance of the show, culminating in a surprise performance by The Lion King's Tony-nominated composer Elton John.
- 11/6/2017
- by Jennifer Broski
- BroadwayWorld.com
There are a number of deleted and extended scenes featured on The Lion King: The Walt Disney Signature Collection Blu-ray, but one in particular is uncomfortable and makes Scar even more vile than he already was in the film.
The extra scenes — which were all recorded by the actors, but only storyboarded — are introduced by directors Roger Allers and Rob Minkoff, who explain all the cut material "didn't quite make it into the movie" and "sometimes it needs a little more work."
The other scenes are cute and match the tone of the film, but the Scar and Nala moment is out of...
The extra scenes — which were all recorded by the actors, but only storyboarded — are introduced by directors Roger Allers and Rob Minkoff, who explain all the cut material "didn't quite make it into the movie" and "sometimes it needs a little more work."
The other scenes are cute and match the tone of the film, but the Scar and Nala moment is out of...
- 9/4/2017
- by Ryan Parker
- The Hollywood Reporter - Movie News
Long live the king!
Disney Animation has re-released 1994’s The Lion King back on to Blu-ray, DVD and Digital Download.
Movie Details
Synopsis: The Disney animated feature follows the adventures of the young lion Simba, the heir of his father, Mufasa. Simba’s wicked uncle, Scar, plots to usurp Mufasa’s throne by luring father and son into a stampede of wildebeests. But Simba escapes and only Mufusa is killed. Simba returns as an adult to take back his homeland from Scar with the help of his friends Timon and Pumbaa.
Directed by: Roger Allers, Rob Minkoff
Written by: Irene Mecchi, Jonathan Roberts, Linda Woolverton
Starring: Matthew Broderick, Jeremy Irons, James Earl Jones, Nathan Lane, Rowan Atkinson, Cheech Marin, Whoopi Goldberg, Moira Kelly, Robert Guillaume and Jonathan Taylor Thomas.
Genre: Animation
Rating: PG
Runtime: 88 minutes
Blu-ray Details
Audio: English: 7.1 DTS-hdma, Spanish and French: 5.1 Dolby Digital
Video: 1080p High Definition Widescreen...
Disney Animation has re-released 1994’s The Lion King back on to Blu-ray, DVD and Digital Download.
Movie Details
Synopsis: The Disney animated feature follows the adventures of the young lion Simba, the heir of his father, Mufasa. Simba’s wicked uncle, Scar, plots to usurp Mufasa’s throne by luring father and son into a stampede of wildebeests. But Simba escapes and only Mufusa is killed. Simba returns as an adult to take back his homeland from Scar with the help of his friends Timon and Pumbaa.
Directed by: Roger Allers, Rob Minkoff
Written by: Irene Mecchi, Jonathan Roberts, Linda Woolverton
Starring: Matthew Broderick, Jeremy Irons, James Earl Jones, Nathan Lane, Rowan Atkinson, Cheech Marin, Whoopi Goldberg, Moira Kelly, Robert Guillaume and Jonathan Taylor Thomas.
Genre: Animation
Rating: PG
Runtime: 88 minutes
Blu-ray Details
Audio: English: 7.1 DTS-hdma, Spanish and French: 5.1 Dolby Digital
Video: 1080p High Definition Widescreen...
- 8/30/2017
- by Gig Patta
- LRMonline.com
Walt Disney was a canny marketer, cycling his films in and out of release, on and off television, through the years, recognizing it would appear fresh to younger viewers and fondly recalled by those at later stages in their lives. That practice has continued into the world of home video with the films on rotation and we’re now getting The Lion King: The Circle of Life Edition after having received Masterpiece Collection, Platinum Edition and Diamond Edition. The new edition is already available as Digital HD and hits disc today.
An interesting thing to consider about the story itself is that Simba is being trained by his father to one day succeed him as King. This connection with a parent and this effort towards being prepared to rule is entirely absent from any of the Disney Princess films.
Of course, the movie is a wildly entertaining musical which...
An interesting thing to consider about the story itself is that Simba is being trained by his father to one day succeed him as King. This connection with a parent and this effort towards being prepared to rule is entirely absent from any of the Disney Princess films.
Of course, the movie is a wildly entertaining musical which...
- 8/29/2017
- by Robert Greenberger
- Comicmix.com
It was announced at D23 Expo that in August, one of the biggest animated films in history—“The Lion King”—joins the highly celebrated Walt Disney Signature Collection. The coming-of-age masterpiece, filled with humor and heart, breathtaking animation and soul-stirring Academy Award®–winning music (1994: Best Original Score and Best Original Song, “Can You Feel the Love Tonight”), arrives on Digital on Aug. 15 and on Blu-ray and DVD on Aug. 29.
Audiences will fall in love all over again with the treasured classic, and a new generation of fans will laugh with Timon and Pumbaa, cry with Simba and Mufasa, burst into song, and find their place in the “Circle of Life.” The Walt Disney Signature Collection release includes over three hours of classic bonus material and exclusive, brand new features inviting viewers to sing along with the film’s award-winning music, observe recording sessions, step inside the story room, witness the evolution of a villain,...
Audiences will fall in love all over again with the treasured classic, and a new generation of fans will laugh with Timon and Pumbaa, cry with Simba and Mufasa, burst into song, and find their place in the “Circle of Life.” The Walt Disney Signature Collection release includes over three hours of classic bonus material and exclusive, brand new features inviting viewers to sing along with the film’s award-winning music, observe recording sessions, step inside the story room, witness the evolution of a villain,...
- 8/23/2017
- by Tom Stockman
- WeAreMovieGeeks.com
Burbank, Calif. (July 16 2017) — It was announced today at D23 Expo that in August, one of the biggest animated films in history—The Lion King—joins the highly celebrated Walt Disney Signature Collection. The coming-of-age masterpiece, filled with humor and heart, breathtaking animation and soul-stirring Academy Award®–winning music (1994: Best Original Score and Best Original Song, “Can You Feel the Love Tonight”), arrives on Digital on Aug. 15 and on Blu-ray and DVD on Aug. 29.
Audiences will fall in love all over again with the treasured classic, and a new generation of fans will laugh with Timon and Pumbaa, cry with Simba and Mufasa, burst into song, and find their place in the “Circle of Life.” The Walt Disney Signature Collection release includes over three hours of classic bonus material and exclusive, brand new features inviting viewers to sing along with the film’s award-winning music, observe recording sessions, step inside the story room,...
Audiences will fall in love all over again with the treasured classic, and a new generation of fans will laugh with Timon and Pumbaa, cry with Simba and Mufasa, burst into song, and find their place in the “Circle of Life.” The Walt Disney Signature Collection release includes over three hours of classic bonus material and exclusive, brand new features inviting viewers to sing along with the film’s award-winning music, observe recording sessions, step inside the story room,...
- 7/18/2017
- by ComicMix Staff
- Comicmix.com
Though reaction to the announcement of a live-action remake of Disney’s The Lion King has been somewhat mixed, the studio is forging ahead with the project. Having set Jon Favreau to direct the film, screenwriter Jeff Nathanson (Tower Heist, Pirates Of The Caribbean: Dead Men Tell No Tales) has now been hired to tackle the adaptation.
Disney are clearly seeking to capitalise on the rapturous reception The Jungle Book received earlier this year. Filmmaker Jon Favreau took the classic Disney film and reinvigorated it by returning to certain elements of the source material – being Rudyard Kipling’s book. He then delivered a CGI-live action hybrid movie that succeeded on every level. With The Lion King, however, there is no specific source material to incorporate, beyond the original film, unless writer Jeff Nathanson brings additional elements of Shakespeare’s Hamlet into the story – of which the 1994 film featured narrative aspects.
Disney are clearly seeking to capitalise on the rapturous reception The Jungle Book received earlier this year. Filmmaker Jon Favreau took the classic Disney film and reinvigorated it by returning to certain elements of the source material – being Rudyard Kipling’s book. He then delivered a CGI-live action hybrid movie that succeeded on every level. With The Lion King, however, there is no specific source material to incorporate, beyond the original film, unless writer Jeff Nathanson brings additional elements of Shakespeare’s Hamlet into the story – of which the 1994 film featured narrative aspects.
- 10/14/2016
- by Sarah Myles
- We Got This Covered
Disney and Jon Favreau’s “The Jungle Book” turned a lot of heads earlier this year with its groundbreaking use of special effects and its worldwide box office gross of just over $960 million. Sequel buzz was inevitable with that kind of blockbuster success, but now we have confirmed that the studio and filmmaker have something even more ambitious up their sleeves: A live-action “The Lion King.” The Walt Disney Company confirmed this morning that one of their most beloved animated movies will officially be getting the live-action treatment, with Favreau attached to direct.
Read More: ‘The Jungle Book’ Review: Jon Favreau’s Flashy Reboot is the Future of the Blockbuster
Disney’s animated “The Lion King,” directed by Roger Allers and Rob Minkoff and released in 1994, was the highest grossing animated film for 16 years until it was surpassed by “Toy Story 3” in 2010. Since then, numerous CGI animated films have...
Read More: ‘The Jungle Book’ Review: Jon Favreau’s Flashy Reboot is the Future of the Blockbuster
Disney’s animated “The Lion King,” directed by Roger Allers and Rob Minkoff and released in 1994, was the highest grossing animated film for 16 years until it was surpassed by “Toy Story 3” in 2010. Since then, numerous CGI animated films have...
- 9/28/2016
- by Zack Sharf
- Indiewire
If the films of 2015 have a common denominator it’s the fearlessness with which filmmakers approached the medium and took it in new directions proving that innovation is still possible and that not everything, both in content and form, has been explored. From a comedy shot entirely on an iPhone starring transgender actresses, to a film in sign language designed to be screened without subtitles, to a stop-motion animated feature that emanates more humanity than most live-action efforts, to a new immersive vision of the Holocaust from an emerging auteur, or a Brazilian hand-drawn musical odyssey about the dangers of the modern world, all granted us experiences unlike anything we've previously seen.
It’s hard to tell how many films I watched this year but I’m sure they were many. From that vast pool of cinematic works the 30 films below are the ones that stood out the most and remained ingrained in my memory as rewarding, delightful, moving, and even harrowing accomplishments. There were also films that simply didn't connect as strongly with me as they did with other journalists and audiences, thus they don't appear here. This is after all, like all of them, a very personal and subjective list of the films I loved.
Even with such an extensive list there are still other great films that deserve to be mentioned such as "The Young and Prodigious T.S. Spivet," "Christmas, Again," "Mistress America," "Entertainment," "Felix and Meira," "Victoria," "Mustang," "The Wolfpack," "Xenia," Estonia's Oscar-nominated "Tangerines," "Buzzard," "The Salt of the Earth," "Guidance," "Cheatin'," "Black Souls,""The Mend," "Shaun The Sheep Movie," or "'71." One can only hope audiences will discover them and be compelled by their singular perspectives.
What were your favorite films of 2015?
Special Mention: "World of Tomorrow"
Don Hertzfeldt's thought-provoking and visionary Sundance-winning short "World of Tomorrow" is easily the best short film of the year, animated or otherwise. This 17-minute science fiction journey is a mind-bending study on the essence of humanity and how technology’s ferocious advances to know and control it all endanger our ability to notice what’s truly meaningful.
Read More: 'The 17th Annual Animation Show of Shows' is One of the Most Profound Cinematic Experiences of 2015
30. "It Follows"
The best horror film of the year proves that an intriguing premise embedded into an intelligently written screenplay can bring a refreshing point of view absent in most studio productions. Director David Robert Mitchell takes classic genre conventions and twists them into a terrifying tale with morally ambiguous undertones.
29. "The Gift"
Wearing multiple hats Joel Edgerton demonstrated his storytelling and acting talents in an unpredictable psychological thriller that’s as unassuming as it’s disconcerting. An old friend reappears in a married man’s life apparently seeking to rekindle their past bond, but soon enough his good intentions will unveil much more sinister motives that makes us question who the real villain is. A stunning and perversely brilliant film that thrives on its misguiding simplicity.
28. "Heaven Knows What"
An accomplishment both in technique and emotional power, “Heaven Knows What” is an eye-opening experience brimming with unflinching truth. From the streets to the screen, the unbelievable story of Arielle Holmes is a fascinating example of the rare occurrence when cinema and reality blend almost seamlessly.
Read More: 'Heaven Knows What' Directors Josh and Benny Safdie Are Addicted to the Truth
27. "Kahlil Gibran's The Prophet"
Spearheaded by producer Salma Hayek, director Roger Allers and 8 of the world's most talented independent animators took Gibran's timeless poems and assembled a cinematic out-of-body experience that deconstructs our existential yearnings and translates them into mesmerizing animated wisdom.
Read More: Why 'Kahlil Gibran's The Prophet' is a Cinematic Out-Of-Body Experience Brimming with Animated Wisdom
Read More: Salma Hayek on 'Kahlil Gibran's The Prophet': 'His Poetry Talks About the Simple Things in Life That Unite Us All'
26. "James White"
This emotionally devastating character study put Josh Mond in the director’s chair for the first time and allowed Christopher Abbott and Cynthia Nixon to delve into career-defining roles as a mother and a son struggling to accept each other’s shortcomings in the face of impending tragedy. Mond’s debut is an unforgettable portrait of unconditional love
25. "The Big Short"
The financial crisis and the white-collar criminals behind it are examined in an outrageously humorous and dynamically constructed adaptation of Michael Lewis's book. Director Adam McKay crafted his own visual language to paint a picture of capitalism in America that’s as brutally honest as it’s infuriating. His entire cast, in particular Christian Bale, Ryan Gosling, and Steve Carell, play along in this satirical exposé.
24. "The Second Mother"
Anna Muylaert’s crowd-pleasing, yet thematically complex gem delves into the intricacies of class in Brazilian society through the eyes of an endearing live-in maid. Regina Casé, in an Oscar-worthy performance, becomes Val, a diligent and humble housekeeper that has worked with the same wealthy family in Sao Paulo for many years and who only questions her role within this environment when her strange daughter comes to visit.
Read More: Anna Muylaert on Why the Protagonist of 'The Second Mother' is a Super Hero
23. "Kumiko The Treasure Hunter"
Losing grip on reality Kumiko, a solitary Japanese woman, leaves her monotonous and life and her adorable bunny Bunzo behind to search for the money Steve Buscemi’s character hides in the Cohen Brothers’ film “Fargo.” Knowing very little English and with no American contacts, she ventures in the Minnesotan wilderness. Armed with Rinko Kikuchi ’s outstanding performance, David Zellner and Nathan Zellner managed to create an endearing and poignant adventure at the intersection between fiction and reality.
22. "When Marnie Was There"
Notably current while still unequivocally timeless, Studio Ghibli’s latest film was confected with equal doses of heart-rending drama and life-affirming beauty. More than just a visually delightful tearjerker, "When Marnie Was There" is an animated lullaby that reassures our broken hearts will eventually heal- even from the most indomitable tricks of fate.
Read More: Review: Wondrous 'When Marnie Was There' is One of Ghibli's Most Profoundly Moving Works
21. "The Hateful Eight"
Sharp dialogue and the search for violent retribution are Tarantino staples, and in his latest Western the revered director channels these through a group of deceitful characters confined to a single location. Race relations are examined via the peculiar interactions of the murderous bunch - each with their ulterior motives and frightening reputation. With a magnificent score by Ennio Morricone, impeccable cinematography by Robert Richardson, and tonally perfect performances by the ensemble cast, in which Jennifer Jason Leigh and Kurt Russell are the highlights, “The Hateful Eight” is a highly entertaining addition to Tarantino's selective filmography.
20. "What We Do in the Shadows"
This masterful mockumentary capitalizes on the general public’s obsession with reality shows and the allure of vampirism and its promise of eternal life. Four ancient bloodsuckers share a house in Wellington, New Zealand and decide to let a crew film their day-to-day routines as vampires living in the modern world. What ensues are a series of intelligently written occurrences that transform every known convention about these creatures of the night into hysterical gags.
19. "The Revenant"
To say Alejandro González Iñárritu’s latest is breathtaking would be an understatement. Emmanuel Lubezkii’s work is absolutely astonishing. No other film this year captured this much beauty in every single frame. The Mexican-born Oscar-winning director has reached a new level of artistry here. Leonardo DiCaprio, in one of the best performances of his career, plays Hugh Glass, a man who escapes death to take revenge on the man who killed his son.
18. "Inside Out"
Pixar ventured into the difficult task of decoding the complexity of the human psyche in one of their best features to date. Emotions take on humanoid form in the brain of a young girl adjusting to life in anew city. Joy, Sadness, Anger, Fear, and Disgust must work together to shape her blossoming personality. “Inside Out” also gifted us Bing Bong, who will go down as one of the most memorable animated characters to ever grace the screen.
17. "Ex Machina"
Artificial intelligence crosses the boundaries of mere functionality to become self-aware and to replicate the behaviors of mortals in Alex Garland “Ex Machina.” The provocative screenplay evolves into a fascinating and often unsettling dissection of what it means to be a human being and the seemingly godlike power that comes from creating technology that resembles such qualities. Alicia Vikander is riveting as Ava - a mysterious female A.I.
16. "The Diary of a Teenager Girl"
Bel Powley is this year’s acting revelation and Marielle Heller the woman behind this charming, uncompromising, and original coming of age film, is one of most exciting new directors to emerge in recent memory. Burgeoning female sexuality is treated without moral judgment or shame, and it’s instead embraced in an empowering manner that overflows with truthfulness and charisma. Both Kristen Wiig and Alexander Skarsgård are outstanding in substantial supporting roles.
15. "Taxi"
Despite being banned from filmmaking by the Iranian government, Jafar Panahi continues to bravely expose the political and social problems of his home country with films shot in secrecy. “Taxi” takes the director through the streets of Tehran as he picks up an array of passengers with distinct concerns, beliefs, and opinions on the Islamic nation’s current situation: a young girl trying to make a “distributable” film, a guy who considers selling pirated films a cultural campaign, or a pair of elderly women whose fate depends on the survival of a couple fish. Though scripted, each encounter exudes honesty.
14. "The Duke of Burgundy"
Intoxicatingly atmospheric and full of evocative imagery, Peter Strickland’s follow up to his similarly unusual debut “Berberian Sound Studio” looks at the psychology of sexual desires with a seductive gaze. The line dividing power and submission is blurred and interchangeable between two lovers whose turbulent relationship is juxtaposed with the nature of butterflies. Eroticism derived from degradation and punishment is elegantly approached that suggest more than it explicitly shows.
13. "Phoenix"
The final sequence in this new collaboration between writer/director Christian Petzold and actress Nina Hoss is one of the best conclusions ever written. It’s subtle, yet strikingly revelatory. Departing from a Hitchcockian mistaken identity plot from the point of view of a concentration camp survivor, Petzold delves into Germany’s post war sentiments of guilt and the beginning of the long road to rebuild a superficially and morally shattered nation. “Phoenix” is also a love story coated in betrayal and the harsh realization that, when tested, even the strongest bond can be destroyed. Hoss gives an awards-deserving, restrained and perfectly nuanced performance.
Read More: Christian Petzold's 'Phoenix' is a Deeply Moving Film About Survivors Rebuilding Their Lives
12. "Timbuktu"
Today, perhaps more than ever, a film like Abderrahmane Sissako’s spellbinding “Timbuktu” is imperative. Capturing some of the most beautiful African landscapes ever seen on film and delicately arranging his stories to create a tapestry of human experiences, Sissako’s latest doesn’t abide by any political or religious dogma. Instead, his vision preaches openness and denounces the terrifying absurdity of the world according to extremist.
Read More: Promoting Tolerance: Abderrahmane Sissako on 'Timbuktu' and a Different Kind of Islam
11. "The Voices"
Playing Jerry, the most charming serial killer you’ll ever meet, Ryan Reynolds gives the best performance of his career in Marjane Satrapi’s wonderfully insane horror comedy. Adding to his already outstanding work as the lovable, if unstable young man, Reynolds also voices both of his character's opinionated pets. Stay tuned after the film for one of the most ridiculous credit sequences ever.
Read More: Too Insane To Ignore: Marjane Satrapi On Her Fascinating Sundance Horror-Comedy 'The Voices'
10. "Güeros"
Using one of the most cosmopolitan and complex cities in the world as his canvas, Mexican filmmaker Alonso Ruizpalacios delivered an audaciously original story that delves into many unique aspects of Mexican society wrapped up into a road trip adventure that helps two estrange brothers reconnect.
It’s a revitalizing work, and one of the best Mexican films of the last decade.
Read More: In 'Güeros' Dir. Alonso Ruizpalacios Rediscovered Mexico City Via a Unique Road Trip
9. "Me and Earl and the Dying Girl"
Read More: How Alfonso Gomez-Rejon Used Determinación to Go From a Small Town to Nyu to Sundance
Alfonso Gomez-Rejon's Sundance champion is a tonally nuanced and visually inventive work that ingeniously beguiles you to fall in love with every instant of its strangely imaginative magic. This tragicomedy invokes tropes from a familiar realm and deconstructs or tailors them to the uniquely poignant circumstances of it's characters. It's nothing short of a cinephile's dream come true.
Read More: This is the Review That Tells You Why 'Me and Earl and the Dying Girl' is a Cinephile's Dream Come True
8. "A Pigeon Sat on a Branch Reflecting on Existence"
Constructed of gorgeously understated vignettes, which guide us through the grandeur of life by methodically focusing on the smallest but most resonant instants of it, "A Pigeon Sat on a Branch Reflecting on Existence" by Swedish writer/director Roy Andersson won the Golden Lion at last’s year’s Venice Film Festival. Delving into a wide range of quotidian dilemmas via darkly comedic exploits, this episodic tour de force is as insightful as it’s blissfully entertaining and distinctively stylized.
Read More: 7 Reasons Why Roy Andersson's Latest Film is a Must-See Philosophical Wonder
7. "Tangerine"
Sean Baker's riotous and perfectly acted latest film shot on an iPhone “Tangerine” centers on Alexandra (Mya Taylor) and Sin-Dee (Kitana Kiki Rodriguez), two transgender sex workers on Santa Monica Boulevard who struggle to get by while dealing with heartbreak, revenge, and their dreams.
Baker captured an unseen side of Los Angeles through the eyes of two equally underrepresented characters who get a chance to showcase their comedic brilliance.
Read More: How Sean Baker Used Beautiful Accidents and New Talent to Deliver one of the Best Films of the Year
6. "The Look of Silence"
For “The Look of Silence,” the indispensable companion piece to "The Act of Killing," director Joshua Oppenheimer focused on the survivors, specifically on a brave family that persevered through the immeasurable pain that quietly permeates Indonesian society even half a century after the genocide. The subjects here are often quiet and contemplative, but their anguish transcends even when words fail to describe their tumultuous sentiments.
Read More: 12 Things Joshua Oppenheimer Wants You to Know About 'The Look of Silence'
5. "Anomalisa"
In "Anomalisa," a delicately melancholic observation on loneliness and the flawed human condition, acclaimed writer-director Charlie Kaufman and co-director Duke Johnson use stop-motion animation to tell a story of small proportions and big ideas. These existential observations include our fears, failures, insecurities and our desperate need to be loved by someone who can look pass our conspicuous scars.
Read More: Human at the Seams: Charlie Kaufman and Duke Johnson Make Yearning Tangible in 'Anomalisa'
4. "The Tribe"
“The Tribe,” by Ukrainian debutant Miroslav Slaboshpitsky, is a film that communicates with its audience in a non-verbal manner. There are no subtitles or any other way to know exactly what the characters on screen are saying, but that’s never an issue for it to powerfully make its message heard. It’s the purest form of cinema because it can be shown anywhere in the world without modification, and the devastating result would be the same.
Read More: Interviewing Yana Novikova, Star of 'The Tribe,' Was a One-of-a-Kind Experience
3. "Boy and the World"
Alê Abreu’s “Boy and the World” is unequivocally the best animated film of the year. Drawn with the finest ends of an artist's heartstrings and painted with the colorful essence of undefeatable hope, Abreu’s utterly lyrical, visually captivating, musically driven, and extraordinarily sophisticated treasure is the animated equivalent of a childhood dream that thrives on sweet innocence and the pure ability to see the world truthfully for its dazzling beauty and its man-made dangers. As it continues to spellbind the globe with its unconventional artistry and thought-provoking observations, an Oscar nomination would be a more than deserved crown jewel.
Read More:Review: Why Alê Abreu's Sublime 'Boy and the World' is the Best Animated Film of the Year
Read More: How "Boy and the World" Director Alê Abreu Handcrafted His Heartfelt & Dazzling Animated Masterpiece
2. "Carol"
Exquisitely photographed and fueled by the two best performances of the year, Todd Haynes “Carol” depicts an ethereal and ravishing romance that’s sure to take your breath away. Rooney Mara and Cate Blanchett play two women from opposite worlds that meet serendipitously and fall madly in love for each other in a time yet unwilling to accept them. Carol (Blanchett) is a wealthy mother and wife whose desires are used against her threatening to stripped her of what she loves the most. On the other hand Therese (Mara) is a working class girl discovering herself and who finds the strength to follow her true instincts in Carol. Heartbreak has rarely been portrayed with such a delicate touch, thoughtfulness, and sincerity. Beneath the glossy Christmas-tinted frames is a story as universal as it is particular in which a single pleading look disarms you. Few films will make you feel such tangible and pure yearning to connect with another soul as Haynes masterwork does.
1. "Son of Saul"
First-time director László Nemes decided to look at the terrifying apparatus behind the Holocaust from the perspective of the Sonderkommando, a group of men whose experience was exponentially more harrowing than that of the average victim. Nemes focuses on a particular man, Saul (Géza Röhrig), a fictional character created from the limited information available on this special group and the filmmaker’s artistic sensibilities.“Son of Saul” is not only the best film of the year, but also the most ambitious debut in ages. Both conceptually and visually, the dynamic, yet organically contemplative vision of one man’s ordeal as he walks through the gates the hell is the work of a master auteur.
Read More: 12 Things Director László Nemes and Star Géza Röhrig Want You to Know About 'Son of Saul'...
It’s hard to tell how many films I watched this year but I’m sure they were many. From that vast pool of cinematic works the 30 films below are the ones that stood out the most and remained ingrained in my memory as rewarding, delightful, moving, and even harrowing accomplishments. There were also films that simply didn't connect as strongly with me as they did with other journalists and audiences, thus they don't appear here. This is after all, like all of them, a very personal and subjective list of the films I loved.
Even with such an extensive list there are still other great films that deserve to be mentioned such as "The Young and Prodigious T.S. Spivet," "Christmas, Again," "Mistress America," "Entertainment," "Felix and Meira," "Victoria," "Mustang," "The Wolfpack," "Xenia," Estonia's Oscar-nominated "Tangerines," "Buzzard," "The Salt of the Earth," "Guidance," "Cheatin'," "Black Souls,""The Mend," "Shaun The Sheep Movie," or "'71." One can only hope audiences will discover them and be compelled by their singular perspectives.
What were your favorite films of 2015?
Special Mention: "World of Tomorrow"
Don Hertzfeldt's thought-provoking and visionary Sundance-winning short "World of Tomorrow" is easily the best short film of the year, animated or otherwise. This 17-minute science fiction journey is a mind-bending study on the essence of humanity and how technology’s ferocious advances to know and control it all endanger our ability to notice what’s truly meaningful.
Read More: 'The 17th Annual Animation Show of Shows' is One of the Most Profound Cinematic Experiences of 2015
30. "It Follows"
The best horror film of the year proves that an intriguing premise embedded into an intelligently written screenplay can bring a refreshing point of view absent in most studio productions. Director David Robert Mitchell takes classic genre conventions and twists them into a terrifying tale with morally ambiguous undertones.
29. "The Gift"
Wearing multiple hats Joel Edgerton demonstrated his storytelling and acting talents in an unpredictable psychological thriller that’s as unassuming as it’s disconcerting. An old friend reappears in a married man’s life apparently seeking to rekindle their past bond, but soon enough his good intentions will unveil much more sinister motives that makes us question who the real villain is. A stunning and perversely brilliant film that thrives on its misguiding simplicity.
28. "Heaven Knows What"
An accomplishment both in technique and emotional power, “Heaven Knows What” is an eye-opening experience brimming with unflinching truth. From the streets to the screen, the unbelievable story of Arielle Holmes is a fascinating example of the rare occurrence when cinema and reality blend almost seamlessly.
Read More: 'Heaven Knows What' Directors Josh and Benny Safdie Are Addicted to the Truth
27. "Kahlil Gibran's The Prophet"
Spearheaded by producer Salma Hayek, director Roger Allers and 8 of the world's most talented independent animators took Gibran's timeless poems and assembled a cinematic out-of-body experience that deconstructs our existential yearnings and translates them into mesmerizing animated wisdom.
Read More: Why 'Kahlil Gibran's The Prophet' is a Cinematic Out-Of-Body Experience Brimming with Animated Wisdom
Read More: Salma Hayek on 'Kahlil Gibran's The Prophet': 'His Poetry Talks About the Simple Things in Life That Unite Us All'
26. "James White"
This emotionally devastating character study put Josh Mond in the director’s chair for the first time and allowed Christopher Abbott and Cynthia Nixon to delve into career-defining roles as a mother and a son struggling to accept each other’s shortcomings in the face of impending tragedy. Mond’s debut is an unforgettable portrait of unconditional love
25. "The Big Short"
The financial crisis and the white-collar criminals behind it are examined in an outrageously humorous and dynamically constructed adaptation of Michael Lewis's book. Director Adam McKay crafted his own visual language to paint a picture of capitalism in America that’s as brutally honest as it’s infuriating. His entire cast, in particular Christian Bale, Ryan Gosling, and Steve Carell, play along in this satirical exposé.
24. "The Second Mother"
Anna Muylaert’s crowd-pleasing, yet thematically complex gem delves into the intricacies of class in Brazilian society through the eyes of an endearing live-in maid. Regina Casé, in an Oscar-worthy performance, becomes Val, a diligent and humble housekeeper that has worked with the same wealthy family in Sao Paulo for many years and who only questions her role within this environment when her strange daughter comes to visit.
Read More: Anna Muylaert on Why the Protagonist of 'The Second Mother' is a Super Hero
23. "Kumiko The Treasure Hunter"
Losing grip on reality Kumiko, a solitary Japanese woman, leaves her monotonous and life and her adorable bunny Bunzo behind to search for the money Steve Buscemi’s character hides in the Cohen Brothers’ film “Fargo.” Knowing very little English and with no American contacts, she ventures in the Minnesotan wilderness. Armed with Rinko Kikuchi ’s outstanding performance, David Zellner and Nathan Zellner managed to create an endearing and poignant adventure at the intersection between fiction and reality.
22. "When Marnie Was There"
Notably current while still unequivocally timeless, Studio Ghibli’s latest film was confected with equal doses of heart-rending drama and life-affirming beauty. More than just a visually delightful tearjerker, "When Marnie Was There" is an animated lullaby that reassures our broken hearts will eventually heal- even from the most indomitable tricks of fate.
Read More: Review: Wondrous 'When Marnie Was There' is One of Ghibli's Most Profoundly Moving Works
21. "The Hateful Eight"
Sharp dialogue and the search for violent retribution are Tarantino staples, and in his latest Western the revered director channels these through a group of deceitful characters confined to a single location. Race relations are examined via the peculiar interactions of the murderous bunch - each with their ulterior motives and frightening reputation. With a magnificent score by Ennio Morricone, impeccable cinematography by Robert Richardson, and tonally perfect performances by the ensemble cast, in which Jennifer Jason Leigh and Kurt Russell are the highlights, “The Hateful Eight” is a highly entertaining addition to Tarantino's selective filmography.
20. "What We Do in the Shadows"
This masterful mockumentary capitalizes on the general public’s obsession with reality shows and the allure of vampirism and its promise of eternal life. Four ancient bloodsuckers share a house in Wellington, New Zealand and decide to let a crew film their day-to-day routines as vampires living in the modern world. What ensues are a series of intelligently written occurrences that transform every known convention about these creatures of the night into hysterical gags.
19. "The Revenant"
To say Alejandro González Iñárritu’s latest is breathtaking would be an understatement. Emmanuel Lubezkii’s work is absolutely astonishing. No other film this year captured this much beauty in every single frame. The Mexican-born Oscar-winning director has reached a new level of artistry here. Leonardo DiCaprio, in one of the best performances of his career, plays Hugh Glass, a man who escapes death to take revenge on the man who killed his son.
18. "Inside Out"
Pixar ventured into the difficult task of decoding the complexity of the human psyche in one of their best features to date. Emotions take on humanoid form in the brain of a young girl adjusting to life in anew city. Joy, Sadness, Anger, Fear, and Disgust must work together to shape her blossoming personality. “Inside Out” also gifted us Bing Bong, who will go down as one of the most memorable animated characters to ever grace the screen.
17. "Ex Machina"
Artificial intelligence crosses the boundaries of mere functionality to become self-aware and to replicate the behaviors of mortals in Alex Garland “Ex Machina.” The provocative screenplay evolves into a fascinating and often unsettling dissection of what it means to be a human being and the seemingly godlike power that comes from creating technology that resembles such qualities. Alicia Vikander is riveting as Ava - a mysterious female A.I.
16. "The Diary of a Teenager Girl"
Bel Powley is this year’s acting revelation and Marielle Heller the woman behind this charming, uncompromising, and original coming of age film, is one of most exciting new directors to emerge in recent memory. Burgeoning female sexuality is treated without moral judgment or shame, and it’s instead embraced in an empowering manner that overflows with truthfulness and charisma. Both Kristen Wiig and Alexander Skarsgård are outstanding in substantial supporting roles.
15. "Taxi"
Despite being banned from filmmaking by the Iranian government, Jafar Panahi continues to bravely expose the political and social problems of his home country with films shot in secrecy. “Taxi” takes the director through the streets of Tehran as he picks up an array of passengers with distinct concerns, beliefs, and opinions on the Islamic nation’s current situation: a young girl trying to make a “distributable” film, a guy who considers selling pirated films a cultural campaign, or a pair of elderly women whose fate depends on the survival of a couple fish. Though scripted, each encounter exudes honesty.
14. "The Duke of Burgundy"
Intoxicatingly atmospheric and full of evocative imagery, Peter Strickland’s follow up to his similarly unusual debut “Berberian Sound Studio” looks at the psychology of sexual desires with a seductive gaze. The line dividing power and submission is blurred and interchangeable between two lovers whose turbulent relationship is juxtaposed with the nature of butterflies. Eroticism derived from degradation and punishment is elegantly approached that suggest more than it explicitly shows.
13. "Phoenix"
The final sequence in this new collaboration between writer/director Christian Petzold and actress Nina Hoss is one of the best conclusions ever written. It’s subtle, yet strikingly revelatory. Departing from a Hitchcockian mistaken identity plot from the point of view of a concentration camp survivor, Petzold delves into Germany’s post war sentiments of guilt and the beginning of the long road to rebuild a superficially and morally shattered nation. “Phoenix” is also a love story coated in betrayal and the harsh realization that, when tested, even the strongest bond can be destroyed. Hoss gives an awards-deserving, restrained and perfectly nuanced performance.
Read More: Christian Petzold's 'Phoenix' is a Deeply Moving Film About Survivors Rebuilding Their Lives
12. "Timbuktu"
Today, perhaps more than ever, a film like Abderrahmane Sissako’s spellbinding “Timbuktu” is imperative. Capturing some of the most beautiful African landscapes ever seen on film and delicately arranging his stories to create a tapestry of human experiences, Sissako’s latest doesn’t abide by any political or religious dogma. Instead, his vision preaches openness and denounces the terrifying absurdity of the world according to extremist.
Read More: Promoting Tolerance: Abderrahmane Sissako on 'Timbuktu' and a Different Kind of Islam
11. "The Voices"
Playing Jerry, the most charming serial killer you’ll ever meet, Ryan Reynolds gives the best performance of his career in Marjane Satrapi’s wonderfully insane horror comedy. Adding to his already outstanding work as the lovable, if unstable young man, Reynolds also voices both of his character's opinionated pets. Stay tuned after the film for one of the most ridiculous credit sequences ever.
Read More: Too Insane To Ignore: Marjane Satrapi On Her Fascinating Sundance Horror-Comedy 'The Voices'
10. "Güeros"
Using one of the most cosmopolitan and complex cities in the world as his canvas, Mexican filmmaker Alonso Ruizpalacios delivered an audaciously original story that delves into many unique aspects of Mexican society wrapped up into a road trip adventure that helps two estrange brothers reconnect.
It’s a revitalizing work, and one of the best Mexican films of the last decade.
Read More: In 'Güeros' Dir. Alonso Ruizpalacios Rediscovered Mexico City Via a Unique Road Trip
9. "Me and Earl and the Dying Girl"
Read More: How Alfonso Gomez-Rejon Used Determinación to Go From a Small Town to Nyu to Sundance
Alfonso Gomez-Rejon's Sundance champion is a tonally nuanced and visually inventive work that ingeniously beguiles you to fall in love with every instant of its strangely imaginative magic. This tragicomedy invokes tropes from a familiar realm and deconstructs or tailors them to the uniquely poignant circumstances of it's characters. It's nothing short of a cinephile's dream come true.
Read More: This is the Review That Tells You Why 'Me and Earl and the Dying Girl' is a Cinephile's Dream Come True
8. "A Pigeon Sat on a Branch Reflecting on Existence"
Constructed of gorgeously understated vignettes, which guide us through the grandeur of life by methodically focusing on the smallest but most resonant instants of it, "A Pigeon Sat on a Branch Reflecting on Existence" by Swedish writer/director Roy Andersson won the Golden Lion at last’s year’s Venice Film Festival. Delving into a wide range of quotidian dilemmas via darkly comedic exploits, this episodic tour de force is as insightful as it’s blissfully entertaining and distinctively stylized.
Read More: 7 Reasons Why Roy Andersson's Latest Film is a Must-See Philosophical Wonder
7. "Tangerine"
Sean Baker's riotous and perfectly acted latest film shot on an iPhone “Tangerine” centers on Alexandra (Mya Taylor) and Sin-Dee (Kitana Kiki Rodriguez), two transgender sex workers on Santa Monica Boulevard who struggle to get by while dealing with heartbreak, revenge, and their dreams.
Baker captured an unseen side of Los Angeles through the eyes of two equally underrepresented characters who get a chance to showcase their comedic brilliance.
Read More: How Sean Baker Used Beautiful Accidents and New Talent to Deliver one of the Best Films of the Year
6. "The Look of Silence"
For “The Look of Silence,” the indispensable companion piece to "The Act of Killing," director Joshua Oppenheimer focused on the survivors, specifically on a brave family that persevered through the immeasurable pain that quietly permeates Indonesian society even half a century after the genocide. The subjects here are often quiet and contemplative, but their anguish transcends even when words fail to describe their tumultuous sentiments.
Read More: 12 Things Joshua Oppenheimer Wants You to Know About 'The Look of Silence'
5. "Anomalisa"
In "Anomalisa," a delicately melancholic observation on loneliness and the flawed human condition, acclaimed writer-director Charlie Kaufman and co-director Duke Johnson use stop-motion animation to tell a story of small proportions and big ideas. These existential observations include our fears, failures, insecurities and our desperate need to be loved by someone who can look pass our conspicuous scars.
Read More: Human at the Seams: Charlie Kaufman and Duke Johnson Make Yearning Tangible in 'Anomalisa'
4. "The Tribe"
“The Tribe,” by Ukrainian debutant Miroslav Slaboshpitsky, is a film that communicates with its audience in a non-verbal manner. There are no subtitles or any other way to know exactly what the characters on screen are saying, but that’s never an issue for it to powerfully make its message heard. It’s the purest form of cinema because it can be shown anywhere in the world without modification, and the devastating result would be the same.
Read More: Interviewing Yana Novikova, Star of 'The Tribe,' Was a One-of-a-Kind Experience
3. "Boy and the World"
Alê Abreu’s “Boy and the World” is unequivocally the best animated film of the year. Drawn with the finest ends of an artist's heartstrings and painted with the colorful essence of undefeatable hope, Abreu’s utterly lyrical, visually captivating, musically driven, and extraordinarily sophisticated treasure is the animated equivalent of a childhood dream that thrives on sweet innocence and the pure ability to see the world truthfully for its dazzling beauty and its man-made dangers. As it continues to spellbind the globe with its unconventional artistry and thought-provoking observations, an Oscar nomination would be a more than deserved crown jewel.
Read More:Review: Why Alê Abreu's Sublime 'Boy and the World' is the Best Animated Film of the Year
Read More: How "Boy and the World" Director Alê Abreu Handcrafted His Heartfelt & Dazzling Animated Masterpiece
2. "Carol"
Exquisitely photographed and fueled by the two best performances of the year, Todd Haynes “Carol” depicts an ethereal and ravishing romance that’s sure to take your breath away. Rooney Mara and Cate Blanchett play two women from opposite worlds that meet serendipitously and fall madly in love for each other in a time yet unwilling to accept them. Carol (Blanchett) is a wealthy mother and wife whose desires are used against her threatening to stripped her of what she loves the most. On the other hand Therese (Mara) is a working class girl discovering herself and who finds the strength to follow her true instincts in Carol. Heartbreak has rarely been portrayed with such a delicate touch, thoughtfulness, and sincerity. Beneath the glossy Christmas-tinted frames is a story as universal as it is particular in which a single pleading look disarms you. Few films will make you feel such tangible and pure yearning to connect with another soul as Haynes masterwork does.
1. "Son of Saul"
First-time director László Nemes decided to look at the terrifying apparatus behind the Holocaust from the perspective of the Sonderkommando, a group of men whose experience was exponentially more harrowing than that of the average victim. Nemes focuses on a particular man, Saul (Géza Röhrig), a fictional character created from the limited information available on this special group and the filmmaker’s artistic sensibilities.“Son of Saul” is not only the best film of the year, but also the most ambitious debut in ages. Both conceptually and visually, the dynamic, yet organically contemplative vision of one man’s ordeal as he walks through the gates the hell is the work of a master auteur.
Read More: 12 Things Director László Nemes and Star Géza Röhrig Want You to Know About 'Son of Saul'...
- 12/31/2015
- by Carlos Aguilar
- Sydney's Buzz
A total of 16 films were submitted for consideration in the Best Animated Feature category at the 88th Oscars. After being absent from the race last year, powerhouse Pixar returns with two films, “Inside Out” and "The Good Dinosaur," of which the former is the clear front-runner. Stop-motion animation is represented by two contenders, Charlie Kaufman and Duke Johnson’s critical hit “Anomalisa” and the equally celebrated, though less contemplative, “Shaun the Sheep Movie” from Oscar-winning Aardman. Of the other major studios the only serious film in competition is Blue Sky’s “The Peanuts Movie.” CG animated films such as “Minions,” “Home,” “Hotel Transylvania 2,” "The SpongeBob Movie: Sponge Out of Water," performed well at the box-office but will likely fail to break in.
Thankfully the Academy has been very good at noticing, while not yet awarding, the work of independent artists working in the animation medium. Since 2010, when Gkids garnered its first nomination for Tomm Moore’s gorgeous “The Secret of Kells,” the New York-based distributor‘s films have been present among the five nominees every year. Last year two masterworks from their impeccable repertoire were included, Moore’s “Song of the Sea” and Isao Takahata’s “The Tale of the Princess Kaguya,” leaving out Warner’s “The Lego Movie,” which was considered a lock for most of the season. This year Gkids has three films vying for recognition, all of which received Annie nominations in the Best Independent Animated Feature category, but there also a few other internationally produced, independently made, traditionally animated works on the list that deserve the attention.
There is no doubt that some of the most unconventional and stunning animated films come from outside the mechanized mainstream, and we hope this year, once again, some of them make it to the Dolby Theater so that such exposure helps them reach a larger global audience.
Note: The only 2D-animated feature not included here is “Regular Show: The Movie,” which, despite having a limited release as most independent films, is an American production by a major studio
"The Boy and the Beast"
Dir.Mamoru Hosoda
Having worked in some of the most beloved anime series of all time before transitioning into greater artistic heights with singular animated features such as “The Girl Who Leapt Through Time,” “Summer Wars,” and “Wolf Children,” Mamoru Hosoda is one of the most important figures in Japanese animation today and his work has a loyal following around the world. “The Boy and the Beast,” his most recent film, is a martial arts saga ruled by its very own mythology, yet grounded on universal thematic elements. Following his mother’s death, Ren runs away from home and accidentally finds his way into Jutengai, an alternate reality inhabited by beasts. Reluctantly, young Ren is taken in by Kumatetsu, a bear-like brute desperate to train a disciple in order to be selected as the realm’s new leader. Despite countless arguments and numerous rough patches, a profound bond that transcends the divide between their worlds forms between the two lonely fighters. Fantastical creatures, epic battles, and amusing banter, spice up an endearing story that analyzes parent-children relationship from a highly inventive vantage point.
"Boy and the World"
Dir. Alê Abreu
Read More:Review: Why Alê Abreu's Sublime 'Boy and the World' is the Best Animated Film of the Year
The most awarded animated feature to open in U.S. theaters this year is a Brazilian wonder that ditches dialogue entirely for a storytelling approach that’s purely visual, whimsical, and even heartbreaking. Through the eyes of a playful young boy searching for his father, Alê Abreu’s musical odyssey conveys sophisticated notions about social justice, the voracious appetite of capitalism, and the yoke of oppression. Color pencils, pastels, watercolors, cut outs, and multiple other techniques are blended with an eclectic soundtrack molding a fascinating and gorgeous cinematic experience. Abreu’s animated masterpiece should certainly become the first Latin American animated feature to be nominated in the category (while “Chico and Rita” is set in Cuba, it's actually a European production helmed by Spanish filmmakers), as it would be an unforgivable mistake if the Academy fails to acknowledge dazzlingly craftsmanship on display.
Read More: How "Boy and the World" Director Alê Abreu Handcrafted His Heartfelt & Dazzling Animated Masterpiece
"Kahlil Gibran's The Prophet"
Dir. Roger Allers
Read More: Why 'Kahlil Gibran's The Prophet' is a Cinematic Out-Of-Body Experience Brimming with Animated Wisdom
Realizing her long-awaited passion project, Mexican-born star Salma Hayek produced this mesmerizing reimagining of Lebanese poet Kahil Gibran’s timeless classic with the help of some of the most important names currently working in the medium. Hayek, who also voices one of the lead characters, recruited Roger Allers, the man behind Disney’s “The Lion King,” to craft a linear canvas upon which eight artists could weave in their visual interpretations of Gibran’s poems on specific subjects. Acclaimed animators such as Tomm Moore, Bill Plympton, Nina Paley, and Joan C. Gratz , had complete freedom, both regarding technique and storytelling, to create these breathtaking and distinct segments. Aller’s frame narrative follows Mustafa (voiced by Liam Neeson ), a wise poet, as he is being escorted out of town by the repressive Ottoman authorities that consider his writings and paintings as subversive materials that threaten their tyrannical grip. While each individual vignette offers a lyrical rendition of Gibran’s universal lessons, Moore’s “On Love” is an awe-inspiring standout. “Hypnosis,” the tune written and performed by Damien Rice, is also in contention for the Best Original Song Academy Award.
Read More: Salma Hayek on 'Kahlil Gibran's The Prophet': 'His Poetry Talks About the Simple Things in Life That Unite Us All'
"The Laws of the Universe - Part 0"
Dir. Isamu Imakake
Eleven Arts, a small distributor dedicated to bringing Asian cinema stateside, has entered the Best Animated Feature race with an action-packed contender that will appeal to anime fans fond of intricate plots. Directed by Isamu Imakake, this Japanese sci-fi film centers on five high school friends who are forced to become heroes when they discover an alien conspiracy that endangers the Earth and life as we know it. Teen drama collides with intergalactic standoffs in an exciting and large-scale adventure. It’s luminously stylized character design and the epically orchestrated action sequences elevate the film beyond the conventions and aesthetics associated with anime series produced for TV. Imakake’s previous efforts, "The Mystical Laws” and “The Laws of Eternity," also dealt with adult-oriented and otherworldly duels between powerful evildoers and courageous youths.
"Moomins on the Riviera"
Dir. Xavier Picard
Read More: Review: In 'Moomins on the Riviera' the Beloved Finnish Icons Remain Timeless and Wise
Created in the 1940s by author and illustrator Tove Jansson, these Finnish superstars have an incredibly devout following across Europe and Asia, and though they are still not household names this side of the Atlantic, their humble wisdom cuts across geographical boundaries with ease once one gives in to their charm. In their first big screen appearance in over a decade, the Moomins decide to leave the comfort of rural life in the valley for the extravagant pleasure of the Côte d'Azur. Soon after their arrival, the roundish and unpretentious family realizes that opulence and material wealth are far from what they consider happiness. Elegantly drawn to resemble a nostalgic storybook and drenched in pastel hues, Xavier Picards take on the beloved characters is sure to add new fans to the Moomin legion and to satisfy those that throughout the decades have been enchanted by their innocent humor and surprisingly philosophical observations on the things that really matters.
"When Marnie Was There"
Dir. Hiromasa Yonebayashi
Read More: Review: Wondrous 'When Marnie Was There' is One of Ghibli's Most Profoundly Moving Works
Following Miyazaki’s “The Wind Rises” and Takahata’s “The Tale of the Princess Kaguya,” another Ghibli gem (and as of now their final one) of much more intimate qualities was released to eager U.S. audiences this spring. Hiromasa Yonebayashi's adaption of Joan G. Robinson’s 1967 switches England for a Hokkaido but preserves the moving bond between the protagonist and what seems to be a vision from another time intact. Introvert Anna (voiced by Hailee Steinfeld in the English-language dub) is a young girl that struggles to connect with her foster mother, thus feels alienated. When Anna meets Marnie, a gracious blond girl, while exploring the marshes that surround the town, a secret friendship quickly develops. As their individual histories are slowly revealed through expertly paced twists, it becomes apparent that their initial encounter was not merely serendipitous. Magical realism, instead of more fantastic elements as in most of Ghibli’s films, dictates the narrative, while the artistry that is expected from the legendary studio is as captivating as usual and never disappoints. The way Yonebayashi channels the original material to create a delicate coming-of-age story that accepts its characters flaws and troubling emotional journeys without simplifying them is truly remarkable. Priscilla Ahn’s heartbreaking ballad “Fine on the Outside” is also in the running for the Best Original Song Oscar.
Thankfully the Academy has been very good at noticing, while not yet awarding, the work of independent artists working in the animation medium. Since 2010, when Gkids garnered its first nomination for Tomm Moore’s gorgeous “The Secret of Kells,” the New York-based distributor‘s films have been present among the five nominees every year. Last year two masterworks from their impeccable repertoire were included, Moore’s “Song of the Sea” and Isao Takahata’s “The Tale of the Princess Kaguya,” leaving out Warner’s “The Lego Movie,” which was considered a lock for most of the season. This year Gkids has three films vying for recognition, all of which received Annie nominations in the Best Independent Animated Feature category, but there also a few other internationally produced, independently made, traditionally animated works on the list that deserve the attention.
There is no doubt that some of the most unconventional and stunning animated films come from outside the mechanized mainstream, and we hope this year, once again, some of them make it to the Dolby Theater so that such exposure helps them reach a larger global audience.
Note: The only 2D-animated feature not included here is “Regular Show: The Movie,” which, despite having a limited release as most independent films, is an American production by a major studio
"The Boy and the Beast"
Dir.Mamoru Hosoda
Having worked in some of the most beloved anime series of all time before transitioning into greater artistic heights with singular animated features such as “The Girl Who Leapt Through Time,” “Summer Wars,” and “Wolf Children,” Mamoru Hosoda is one of the most important figures in Japanese animation today and his work has a loyal following around the world. “The Boy and the Beast,” his most recent film, is a martial arts saga ruled by its very own mythology, yet grounded on universal thematic elements. Following his mother’s death, Ren runs away from home and accidentally finds his way into Jutengai, an alternate reality inhabited by beasts. Reluctantly, young Ren is taken in by Kumatetsu, a bear-like brute desperate to train a disciple in order to be selected as the realm’s new leader. Despite countless arguments and numerous rough patches, a profound bond that transcends the divide between their worlds forms between the two lonely fighters. Fantastical creatures, epic battles, and amusing banter, spice up an endearing story that analyzes parent-children relationship from a highly inventive vantage point.
"Boy and the World"
Dir. Alê Abreu
Read More:Review: Why Alê Abreu's Sublime 'Boy and the World' is the Best Animated Film of the Year
The most awarded animated feature to open in U.S. theaters this year is a Brazilian wonder that ditches dialogue entirely for a storytelling approach that’s purely visual, whimsical, and even heartbreaking. Through the eyes of a playful young boy searching for his father, Alê Abreu’s musical odyssey conveys sophisticated notions about social justice, the voracious appetite of capitalism, and the yoke of oppression. Color pencils, pastels, watercolors, cut outs, and multiple other techniques are blended with an eclectic soundtrack molding a fascinating and gorgeous cinematic experience. Abreu’s animated masterpiece should certainly become the first Latin American animated feature to be nominated in the category (while “Chico and Rita” is set in Cuba, it's actually a European production helmed by Spanish filmmakers), as it would be an unforgivable mistake if the Academy fails to acknowledge dazzlingly craftsmanship on display.
Read More: How "Boy and the World" Director Alê Abreu Handcrafted His Heartfelt & Dazzling Animated Masterpiece
"Kahlil Gibran's The Prophet"
Dir. Roger Allers
Read More: Why 'Kahlil Gibran's The Prophet' is a Cinematic Out-Of-Body Experience Brimming with Animated Wisdom
Realizing her long-awaited passion project, Mexican-born star Salma Hayek produced this mesmerizing reimagining of Lebanese poet Kahil Gibran’s timeless classic with the help of some of the most important names currently working in the medium. Hayek, who also voices one of the lead characters, recruited Roger Allers, the man behind Disney’s “The Lion King,” to craft a linear canvas upon which eight artists could weave in their visual interpretations of Gibran’s poems on specific subjects. Acclaimed animators such as Tomm Moore, Bill Plympton, Nina Paley, and Joan C. Gratz , had complete freedom, both regarding technique and storytelling, to create these breathtaking and distinct segments. Aller’s frame narrative follows Mustafa (voiced by Liam Neeson ), a wise poet, as he is being escorted out of town by the repressive Ottoman authorities that consider his writings and paintings as subversive materials that threaten their tyrannical grip. While each individual vignette offers a lyrical rendition of Gibran’s universal lessons, Moore’s “On Love” is an awe-inspiring standout. “Hypnosis,” the tune written and performed by Damien Rice, is also in contention for the Best Original Song Academy Award.
Read More: Salma Hayek on 'Kahlil Gibran's The Prophet': 'His Poetry Talks About the Simple Things in Life That Unite Us All'
"The Laws of the Universe - Part 0"
Dir. Isamu Imakake
Eleven Arts, a small distributor dedicated to bringing Asian cinema stateside, has entered the Best Animated Feature race with an action-packed contender that will appeal to anime fans fond of intricate plots. Directed by Isamu Imakake, this Japanese sci-fi film centers on five high school friends who are forced to become heroes when they discover an alien conspiracy that endangers the Earth and life as we know it. Teen drama collides with intergalactic standoffs in an exciting and large-scale adventure. It’s luminously stylized character design and the epically orchestrated action sequences elevate the film beyond the conventions and aesthetics associated with anime series produced for TV. Imakake’s previous efforts, "The Mystical Laws” and “The Laws of Eternity," also dealt with adult-oriented and otherworldly duels between powerful evildoers and courageous youths.
"Moomins on the Riviera"
Dir. Xavier Picard
Read More: Review: In 'Moomins on the Riviera' the Beloved Finnish Icons Remain Timeless and Wise
Created in the 1940s by author and illustrator Tove Jansson, these Finnish superstars have an incredibly devout following across Europe and Asia, and though they are still not household names this side of the Atlantic, their humble wisdom cuts across geographical boundaries with ease once one gives in to their charm. In their first big screen appearance in over a decade, the Moomins decide to leave the comfort of rural life in the valley for the extravagant pleasure of the Côte d'Azur. Soon after their arrival, the roundish and unpretentious family realizes that opulence and material wealth are far from what they consider happiness. Elegantly drawn to resemble a nostalgic storybook and drenched in pastel hues, Xavier Picards take on the beloved characters is sure to add new fans to the Moomin legion and to satisfy those that throughout the decades have been enchanted by their innocent humor and surprisingly philosophical observations on the things that really matters.
"When Marnie Was There"
Dir. Hiromasa Yonebayashi
Read More: Review: Wondrous 'When Marnie Was There' is One of Ghibli's Most Profoundly Moving Works
Following Miyazaki’s “The Wind Rises” and Takahata’s “The Tale of the Princess Kaguya,” another Ghibli gem (and as of now their final one) of much more intimate qualities was released to eager U.S. audiences this spring. Hiromasa Yonebayashi's adaption of Joan G. Robinson’s 1967 switches England for a Hokkaido but preserves the moving bond between the protagonist and what seems to be a vision from another time intact. Introvert Anna (voiced by Hailee Steinfeld in the English-language dub) is a young girl that struggles to connect with her foster mother, thus feels alienated. When Anna meets Marnie, a gracious blond girl, while exploring the marshes that surround the town, a secret friendship quickly develops. As their individual histories are slowly revealed through expertly paced twists, it becomes apparent that their initial encounter was not merely serendipitous. Magical realism, instead of more fantastic elements as in most of Ghibli’s films, dictates the narrative, while the artistry that is expected from the legendary studio is as captivating as usual and never disappoints. The way Yonebayashi channels the original material to create a delicate coming-of-age story that accepts its characters flaws and troubling emotional journeys without simplifying them is truly remarkable. Priscilla Ahn’s heartbreaking ballad “Fine on the Outside” is also in the running for the Best Original Song Oscar.
- 12/17/2015
- by Carlos Aguilar
- Sydney's Buzz
From shorts to features hailing fro all over the world, 2015 was yet another banner year in the world of animation. To help dive deeper in the process behind some of the best offerings, we have a one-hour THR roundtable featuring Pete Docter (Inside Out), Charlie Kaufman (Anomalisa), Richard Starzak (Shaun the Sheep Movie), Steve Martino (The Peanuts Movie), Roger Allers (The Prophet), and Peter Sohn (The Good Dinosaur).
In the chat, they discuss the painstakingly detailed process behind each of their films, with Starzak noting his process. “I blindly said I wanted to make a modern-day silent movie [with Shaun the Sheep],” he says. “And even my producers said, ‘I think that’s crazy. I don’t think it’s going to work.’ And to be honest, I didn’t think it was going to work either. I didn’t fully believe it was going to work. That was the sort of fear that I like.
In the chat, they discuss the painstakingly detailed process behind each of their films, with Starzak noting his process. “I blindly said I wanted to make a modern-day silent movie [with Shaun the Sheep],” he says. “And even my producers said, ‘I think that’s crazy. I don’t think it’s going to work.’ And to be honest, I didn’t think it was going to work either. I didn’t fully believe it was going to work. That was the sort of fear that I like.
- 12/16/2015
- by Jordan Raup
- The Film Stage
The International Animated Film Society, Asifa-Hollywood, has announced the nominations for the 43rd Annual Annie Awards and "Inside Out" and "The Good Dinosaur," both Pixar movies, led the pack! "Inside Out" received fourteen nominations while "The Good Dinosaur" got nine.
My pick of the year for best animated feature is "Inside Out" but I love Charlie Kaufman's "Anomalisa" as well which picked five noms.
We'll find out the winners of the Annie Awards on February 6th!
Here is the full list of nominees in all categories of the 43rd Annie Awards:
Best Animated Feature
Anomalisa
Paramount Pictures
Inside Out
Pixar Animation Studios
Shaun the Sheep The Movie
Aardman Animations
The Good Dinosaur
Pixar Animation Studios
The Peanuts Movie
Blue Sky Studios, Twentieth Century Fox Animation
Best Animated Special Production
Elf: Buddy.s Musical Christmas
Warner Bros. Animation
He Named Me Malala
Parkes-MacDonald / Little Door
I Am A Witness
Moonbot...
My pick of the year for best animated feature is "Inside Out" but I love Charlie Kaufman's "Anomalisa" as well which picked five noms.
We'll find out the winners of the Annie Awards on February 6th!
Here is the full list of nominees in all categories of the 43rd Annie Awards:
Best Animated Feature
Anomalisa
Paramount Pictures
Inside Out
Pixar Animation Studios
Shaun the Sheep The Movie
Aardman Animations
The Good Dinosaur
Pixar Animation Studios
The Peanuts Movie
Blue Sky Studios, Twentieth Century Fox Animation
Best Animated Special Production
Elf: Buddy.s Musical Christmas
Warner Bros. Animation
He Named Me Malala
Parkes-MacDonald / Little Door
I Am A Witness
Moonbot...
- 12/2/2015
- by Manny
- Manny the Movie Guy
Disney is bringing their treasure trove of their short films from the last deacde and a half to blu-ray/DVD for you and your family to enjoy together in one complete set. Come inside to learn more about the shorts being collected!
With each new release, Disney continues their tradition of having a short animated film play before their movies, and now they're brining all of their latest (including this year's Frozen Fever) together in one collection on Blu-Ray/DVD...and it's available Now!
From Walt Disney Animation Studios comes an extraordinary new collection of award-winning and beloved short films featuring the never-before-released Frozen Fever, starring Frozen's Anna, Elsa, Olaf, Sven and Kristoff, and the Oscar®-nominated Lorenzo. The Short Films Collection features contemporary shorts starring classic characters, including the 2012 groundbreaking Mickey Mouse cartoon, Get A Horse!, holiday treats like Prep & Landing: Operation Secret Santa as well as hailed Oscar® winners Paperman and Feast.
With each new release, Disney continues their tradition of having a short animated film play before their movies, and now they're brining all of their latest (including this year's Frozen Fever) together in one collection on Blu-Ray/DVD...and it's available Now!
From Walt Disney Animation Studios comes an extraordinary new collection of award-winning and beloved short films featuring the never-before-released Frozen Fever, starring Frozen's Anna, Elsa, Olaf, Sven and Kristoff, and the Oscar®-nominated Lorenzo. The Short Films Collection features contemporary shorts starring classic characters, including the 2012 groundbreaking Mickey Mouse cartoon, Get A Horse!, holiday treats like Prep & Landing: Operation Secret Santa as well as hailed Oscar® winners Paperman and Feast.
- 8/18/2015
- by feeds@cinelinx.com (Jordan Maison)
- Cinelinx
Fast-paced modernity acts like deceptive facade that tricks us into thinking we've become something very different from what we've always been. But below the multiple layers of unimportant burdens, pretended indifference, and overflowing cynicism, lies an unalterable human core that rejoices and suffers like it’s done since its genesis. A person navigating the turbulent waters of life today is indeed pondering on the same questions that another did centuries ago. Pain and pleasure, births and deaths, tears and laughter, passion and despair, they all continue to trap us all in their ambivalent choreography that forced us to question if there is meaning to the madness or if the absurdity of the human condition is just an indecipherable codex.
Enlightened thinkers have incessantly taken it upon themselves to interpret our common fears and urges to arrive at somewhat logical conclusions about our puzzling purpose and put these into comprehensible words. Academic and formal the philosopher appeals to rational mind, while the poet delicately arranges his thoughts and aims for the impetuous tenderness of our visceral side. Like preachers of a higher faith that exist about authoritarian religions, poets share their knowledge in ways unrestricted by physicality. Their words travel in the wind and pierce hearts with darts made out of profound realizations. Such sacred gift was granted by the universe to Kahlil Gibran, the Lebanese-American poem who would pen The Prophet, one of the most spiritual books ever written unbound by any denomination.
Containing ethereal poems delving into specific facets of our mortal condition, Gibran’s volumes are not quintessential material for a film adaptation. His writing seemed elusive to traditional representations limited by a rigid narrative structure. Conscious of this seemingly obstructive aspect, determined producer Salma Hayek recognized that a much more fluid and unrestrictive medium was required to portray Gibran’s teachings not with literal imagery, but with dreamlike works of moving art that could evoke the essence of each verse. Ambitiously, Hayek set out to expand the accessibility of this book, one that her grandfather of Lebanese origin treasured deeply and which she had grown to appreciate herself, thought an animation project of tremendous magnitude.
Aspiring to effectively turn this lifelong wish into a soulful visual feast, Hayek enlisted nine of the world’s most passionate animators to fabricate magic with color and to take part in an exuberant celebration of creativity. Eight of them would craft individual segments interpreting a specific poem without any parameter other than Gibran’s intricate phrases, while another director was charged with the demanding task of wrapping these delightful fragments in a frame narrative that could cohesively unify them. The product of this phenomenal amalgamation is Roger Allers’ “Kahlil Gibran’s The Prophet,” a cinematic out-of-body experience that deconstructs our existential yearnings and translates them into mesmerizing animated wisdom.
Honed during the Disney Renaissance, Allers’ stylistic principles still carry a familiar aesthetic that resembles iconic films from said period. Although better known for directing one the most beloved animated tales of all time, “The Lion King,” his resourceful hand touched several other projects including “The Little Mermaid” and “Beauty and the Beast,” as both a writer and a storyboard artist. That myriad of storytelling abilities is reflected in his approach to this unorthodox venture. While the character design employed in his enveloping storyline will immediately and instinctively remind viewers of the filmmaker’s Disney origins, he manages to tailor he manages to tailor such distinct appearance for this singular undertaking. It’s classically elegant and precisely suitable for the plot-driven portion of the film.
Centered on Mustafa (Liam Neeson), a poet and painter living as a prisoner of the Ottoman Empire for what they considered subversive ideas, Allers’ screenplay channels Gibran’s thin fictional account and develops it further so that it blossoms into a full-length fable that relays its own moral, while serving as vehicle for the abstract enclaves to be presented seamlessly. Besides spearheading the entire operation, in this section of the film Hayek also voices Kamila, a hardworking widow paid by the regime to tend to Mustafa and who is out of option when it comes to dealing with her rebellious, yet silent, young daughter, Almitra (Quvenzhané Wallis). It’s only when the girl meets the unassuming wise man that her quiet frustration begins to dissipate.A receptive vessel, Almitra is fascinated by Mustafa’ss tranquil demeanor and fascination by his convictions even if she can’t fully grasp their significance.
Neeson’s virile tone gives the protagonist a regal air without sounding intimidating. His voice emanates tranquility coated with strength, like a fatherly figure at peace with his every step. Alfred Molina appears as the comically villainous Sergeant in charge of escorting Mustafa through the village, but who often gives in to his human impulses on their way to the harbor. Meanwhile John Krasinski plays Halim, a young official romantically pursuing Kamila, and veteran thespian Frank Langella is heard briefly as Pasha, the evil ruler who holds the poet’s fate in his hands. As the events that lead to Mustafa’s final trial unfold each of the stylistically eclectic short sequences finds the right moment to be unveiled.
First comes Michal Socha’s “On Freedom,“ in which an anthropomorphic birdcage prevents its feathered captives from flying into the sunset. Ridding themselves of their shackles holds the promise of fulfillment, but that desire is in fact “the strongest of these chains.” Clever in its use of symbolism and graceful in its execution, Socha’s rendition of Gibran’s piece is sharp and poignant. Then, with kaleidoscopic vividness, Nina Paley uses multiple motifs evocative of both Indian and Greek iconography in “On Children,” to depict the cyclical nature of life and the perennial bond between parents and their descendants. Though this connection is irreproachable, progenitors shouldn't attempt to command the life they’ve brought into the world because it’s not their possession, but a link in a greater continuum. Like bows launching arrows into an uncertain abyss, mothers and fathers must come to terms with letting go. Singer/songwriter Damien Rice rearranges the author’s lines into heartfelt lyrics for a melancholic song that builds up to a captivating finale.
Seductively, Joann Sfar's “On Marriage” shows two lovers dancing tango under the moonlight. Ancient ruins become the battleground for a sensual clash where impeccable choreography is a more of a strategic maneuver than just coordinated movement. Subtly wrestling each other to set the boundaries of their union, husband and wife know their paths advance parallel, yet independently. Similarly exquisite is the manner in which Academy Award-winner Joan Gratz delivers “On Work,” via a painstaking technique known as claypainting. Blending colors with inconspicuous ability, the seasoned artist travels through the numerous notions on the worthiness of labor, whether physical or creative. Exceptionally delicate in nature, her work thoroughly explains why “he who seizes the rainbow to lay it on a cloth” is not nobler than “he who makes sandals for our feet.”
Bill Plympton's scratchy and utterly handcrafted frames in "On Eating and Drinking" flow with the uncompromising animator's expected candidness.These elemental joys are held sacred by Gibran as “an act of worship,” and while the cartoonist is respectful of this canon, humor is always a vital quality of his deliberately nonchalant drawings. A man bites an apple and as we follow its journey through the human body we witness nourishment and sustainability by means of Plympton's style. Now, the most unquestionably breathtaking piece of this magnificent puzzle, and perhaps the most beautiful piece of filmmaking to be projected on screens this year, is Tomm Moore’s “On Love.” Its alluring rhythm and detailed Art Nouveau designs flood each frame with spellbinding imagery that speaks of the thorny splendor that falling for another being entails. Elating and devastating at once, “love crowns you” with its intoxicating glory, but just as strongly it can “crucify you” with merciless fury. Moore’s unmistakable enchantment illustrates an ancestral couple ascending from the depths of darkness into the light of redemption propelled by the dazzlingly magic of “love’s ecstasy.”
Silhouetted animals racing for survival personify human ambitions in Mohammed Harib's “On Good and Evil.” Given the broadness of the poem’s subject matter the animator could have taken much more literal routes to relay its lesson, but his metaphorical approach successfully encapsulates Gibran’s stance on benevolence and wickedness. In hi eyes any wrong doings perpetrated have a purpose within the landscape of our collective destiny. All that is evil was once kindness, because, according to the poet, “good tortured by its own hunger and thirst.” Finally, our unavoidable fate is treated with compassion rather than morbid tropes by Gaëtan Brizzi and Paul Brizzi in their transcendent visualization of "On Death." Our soul, comes to life in the form of an incorporeal character who dances swiftly celestial radiance. Sorrow is replaced with the hope that the end is just a transition into an “unencumbered” state. Drinking from the “river of silence” allows our inner divinity to truly sing without restrains. A peaceful rebirth only comes from letting go of carnal necessities, and that’s something both Gibran and Mustafa are convince of.
Musically, “Kahlil Gibran’s The Prophet,” was embellished by composer Gabriel Yared’s grand score, which mixes epic sentiments with soothing melodies decorating almost every second of it. Accentuating Tomm Moore’s lovely bit, Irish singers Lisa Hannigan and Oscar-winner Glen Hansard fashion a stirring tune out the scribe’s contemplation on amorous frenzy. Lastly, in addition to providing a song for Paley’s segment, Damien Rice wrote another moving ballad titled “Hypnosis” to play during the final credits. Perfectly reflective of the experiential attributes of the film it caps, Rice’s stanzas put an empowering final touch as it asks us to seek strength from our personal truth.
In this tapestry of lyrical mirages, the eternal endurance of art prevails as testament of the immortality bestowed only on those whose brilliance surpasses time and space. Harnessing wide-ranging techniques, the artists behind “Kahil Gibran’s The Prophet” gifted us one of the most mesmerizing films of the year and a milestone in the history of animation, which brought together the genius of many to spread words of compassion and serenity. Solidarity amongst mankind and the acceptance of our flaws as virtues hidden by unnecessary vanity and greed, are the first steps towards the reconciliation between what we think we are now and what we've always been. Gibran’s message is as relevant as ever today, so let us fill ourselves with the majesty of his wisdom, and become vindicated disciples willing to live beyond merely existing.
"Kahlil Gibran's The Prophet" is now playing in L.A. and NYC and will open in other cities across the country in the upcoming weeks.
Enlightened thinkers have incessantly taken it upon themselves to interpret our common fears and urges to arrive at somewhat logical conclusions about our puzzling purpose and put these into comprehensible words. Academic and formal the philosopher appeals to rational mind, while the poet delicately arranges his thoughts and aims for the impetuous tenderness of our visceral side. Like preachers of a higher faith that exist about authoritarian religions, poets share their knowledge in ways unrestricted by physicality. Their words travel in the wind and pierce hearts with darts made out of profound realizations. Such sacred gift was granted by the universe to Kahlil Gibran, the Lebanese-American poem who would pen The Prophet, one of the most spiritual books ever written unbound by any denomination.
Containing ethereal poems delving into specific facets of our mortal condition, Gibran’s volumes are not quintessential material for a film adaptation. His writing seemed elusive to traditional representations limited by a rigid narrative structure. Conscious of this seemingly obstructive aspect, determined producer Salma Hayek recognized that a much more fluid and unrestrictive medium was required to portray Gibran’s teachings not with literal imagery, but with dreamlike works of moving art that could evoke the essence of each verse. Ambitiously, Hayek set out to expand the accessibility of this book, one that her grandfather of Lebanese origin treasured deeply and which she had grown to appreciate herself, thought an animation project of tremendous magnitude.
Aspiring to effectively turn this lifelong wish into a soulful visual feast, Hayek enlisted nine of the world’s most passionate animators to fabricate magic with color and to take part in an exuberant celebration of creativity. Eight of them would craft individual segments interpreting a specific poem without any parameter other than Gibran’s intricate phrases, while another director was charged with the demanding task of wrapping these delightful fragments in a frame narrative that could cohesively unify them. The product of this phenomenal amalgamation is Roger Allers’ “Kahlil Gibran’s The Prophet,” a cinematic out-of-body experience that deconstructs our existential yearnings and translates them into mesmerizing animated wisdom.
Honed during the Disney Renaissance, Allers’ stylistic principles still carry a familiar aesthetic that resembles iconic films from said period. Although better known for directing one the most beloved animated tales of all time, “The Lion King,” his resourceful hand touched several other projects including “The Little Mermaid” and “Beauty and the Beast,” as both a writer and a storyboard artist. That myriad of storytelling abilities is reflected in his approach to this unorthodox venture. While the character design employed in his enveloping storyline will immediately and instinctively remind viewers of the filmmaker’s Disney origins, he manages to tailor he manages to tailor such distinct appearance for this singular undertaking. It’s classically elegant and precisely suitable for the plot-driven portion of the film.
Centered on Mustafa (Liam Neeson), a poet and painter living as a prisoner of the Ottoman Empire for what they considered subversive ideas, Allers’ screenplay channels Gibran’s thin fictional account and develops it further so that it blossoms into a full-length fable that relays its own moral, while serving as vehicle for the abstract enclaves to be presented seamlessly. Besides spearheading the entire operation, in this section of the film Hayek also voices Kamila, a hardworking widow paid by the regime to tend to Mustafa and who is out of option when it comes to dealing with her rebellious, yet silent, young daughter, Almitra (Quvenzhané Wallis). It’s only when the girl meets the unassuming wise man that her quiet frustration begins to dissipate.A receptive vessel, Almitra is fascinated by Mustafa’ss tranquil demeanor and fascination by his convictions even if she can’t fully grasp their significance.
Neeson’s virile tone gives the protagonist a regal air without sounding intimidating. His voice emanates tranquility coated with strength, like a fatherly figure at peace with his every step. Alfred Molina appears as the comically villainous Sergeant in charge of escorting Mustafa through the village, but who often gives in to his human impulses on their way to the harbor. Meanwhile John Krasinski plays Halim, a young official romantically pursuing Kamila, and veteran thespian Frank Langella is heard briefly as Pasha, the evil ruler who holds the poet’s fate in his hands. As the events that lead to Mustafa’s final trial unfold each of the stylistically eclectic short sequences finds the right moment to be unveiled.
First comes Michal Socha’s “On Freedom,“ in which an anthropomorphic birdcage prevents its feathered captives from flying into the sunset. Ridding themselves of their shackles holds the promise of fulfillment, but that desire is in fact “the strongest of these chains.” Clever in its use of symbolism and graceful in its execution, Socha’s rendition of Gibran’s piece is sharp and poignant. Then, with kaleidoscopic vividness, Nina Paley uses multiple motifs evocative of both Indian and Greek iconography in “On Children,” to depict the cyclical nature of life and the perennial bond between parents and their descendants. Though this connection is irreproachable, progenitors shouldn't attempt to command the life they’ve brought into the world because it’s not their possession, but a link in a greater continuum. Like bows launching arrows into an uncertain abyss, mothers and fathers must come to terms with letting go. Singer/songwriter Damien Rice rearranges the author’s lines into heartfelt lyrics for a melancholic song that builds up to a captivating finale.
Seductively, Joann Sfar's “On Marriage” shows two lovers dancing tango under the moonlight. Ancient ruins become the battleground for a sensual clash where impeccable choreography is a more of a strategic maneuver than just coordinated movement. Subtly wrestling each other to set the boundaries of their union, husband and wife know their paths advance parallel, yet independently. Similarly exquisite is the manner in which Academy Award-winner Joan Gratz delivers “On Work,” via a painstaking technique known as claypainting. Blending colors with inconspicuous ability, the seasoned artist travels through the numerous notions on the worthiness of labor, whether physical or creative. Exceptionally delicate in nature, her work thoroughly explains why “he who seizes the rainbow to lay it on a cloth” is not nobler than “he who makes sandals for our feet.”
Bill Plympton's scratchy and utterly handcrafted frames in "On Eating and Drinking" flow with the uncompromising animator's expected candidness.These elemental joys are held sacred by Gibran as “an act of worship,” and while the cartoonist is respectful of this canon, humor is always a vital quality of his deliberately nonchalant drawings. A man bites an apple and as we follow its journey through the human body we witness nourishment and sustainability by means of Plympton's style. Now, the most unquestionably breathtaking piece of this magnificent puzzle, and perhaps the most beautiful piece of filmmaking to be projected on screens this year, is Tomm Moore’s “On Love.” Its alluring rhythm and detailed Art Nouveau designs flood each frame with spellbinding imagery that speaks of the thorny splendor that falling for another being entails. Elating and devastating at once, “love crowns you” with its intoxicating glory, but just as strongly it can “crucify you” with merciless fury. Moore’s unmistakable enchantment illustrates an ancestral couple ascending from the depths of darkness into the light of redemption propelled by the dazzlingly magic of “love’s ecstasy.”
Silhouetted animals racing for survival personify human ambitions in Mohammed Harib's “On Good and Evil.” Given the broadness of the poem’s subject matter the animator could have taken much more literal routes to relay its lesson, but his metaphorical approach successfully encapsulates Gibran’s stance on benevolence and wickedness. In hi eyes any wrong doings perpetrated have a purpose within the landscape of our collective destiny. All that is evil was once kindness, because, according to the poet, “good tortured by its own hunger and thirst.” Finally, our unavoidable fate is treated with compassion rather than morbid tropes by Gaëtan Brizzi and Paul Brizzi in their transcendent visualization of "On Death." Our soul, comes to life in the form of an incorporeal character who dances swiftly celestial radiance. Sorrow is replaced with the hope that the end is just a transition into an “unencumbered” state. Drinking from the “river of silence” allows our inner divinity to truly sing without restrains. A peaceful rebirth only comes from letting go of carnal necessities, and that’s something both Gibran and Mustafa are convince of.
Musically, “Kahlil Gibran’s The Prophet,” was embellished by composer Gabriel Yared’s grand score, which mixes epic sentiments with soothing melodies decorating almost every second of it. Accentuating Tomm Moore’s lovely bit, Irish singers Lisa Hannigan and Oscar-winner Glen Hansard fashion a stirring tune out the scribe’s contemplation on amorous frenzy. Lastly, in addition to providing a song for Paley’s segment, Damien Rice wrote another moving ballad titled “Hypnosis” to play during the final credits. Perfectly reflective of the experiential attributes of the film it caps, Rice’s stanzas put an empowering final touch as it asks us to seek strength from our personal truth.
In this tapestry of lyrical mirages, the eternal endurance of art prevails as testament of the immortality bestowed only on those whose brilliance surpasses time and space. Harnessing wide-ranging techniques, the artists behind “Kahil Gibran’s The Prophet” gifted us one of the most mesmerizing films of the year and a milestone in the history of animation, which brought together the genius of many to spread words of compassion and serenity. Solidarity amongst mankind and the acceptance of our flaws as virtues hidden by unnecessary vanity and greed, are the first steps towards the reconciliation between what we think we are now and what we've always been. Gibran’s message is as relevant as ever today, so let us fill ourselves with the majesty of his wisdom, and become vindicated disciples willing to live beyond merely existing.
"Kahlil Gibran's The Prophet" is now playing in L.A. and NYC and will open in other cities across the country in the upcoming weeks.
- 8/16/2015
- by Carlos Aguilar
- Sydney's Buzz
New film from the director of Oscar-nominated Omar to premiere at Toronto.
The Doha Film Institute has announced it has struck a co-financing partnership on Hany Abu-Assad’s The Idol (Ya Tayr El Tayr).
The film, directed by Palestinian filmmaker Hany Abu-Assad (Paradise Now, Omar), will have its world premiere at Toronto next monthwhere it will screen as part of the festival’s Special Presentations.
The film tells the true story of Mohammad Assaf, a wedding singer from Gaza who became a worldwide sensation after winning the live-singing competition Arab Idol.
Doha Film Institute CEO Fatma Al Remaihi said: “Hany Abu-Assad is one of the most significant filmmakers from the Arab world and we are honoured to be partners on ‘The Idol’.
“Mohammed Assaf’s remarkable story, the many struggles he had to overcome, and his love and commitment to his family and community in Gaza had a powerful impact on us.
“In the hands...
The Doha Film Institute has announced it has struck a co-financing partnership on Hany Abu-Assad’s The Idol (Ya Tayr El Tayr).
The film, directed by Palestinian filmmaker Hany Abu-Assad (Paradise Now, Omar), will have its world premiere at Toronto next monthwhere it will screen as part of the festival’s Special Presentations.
The film tells the true story of Mohammad Assaf, a wedding singer from Gaza who became a worldwide sensation after winning the live-singing competition Arab Idol.
Doha Film Institute CEO Fatma Al Remaihi said: “Hany Abu-Assad is one of the most significant filmmakers from the Arab world and we are honoured to be partners on ‘The Idol’.
“Mohammed Assaf’s remarkable story, the many struggles he had to overcome, and his love and commitment to his family and community in Gaza had a powerful impact on us.
“In the hands...
- 8/12/2015
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Animation is traditionally considered a tyke-targeted genre, but films like Kahlil Gibran’s The Prophet, an uneven but unassailably ambitious adaptation of the Lebanese author’s classic prose poetry collection, challenge that perception. After all, it’s hard to imagine that the children who would be enraptured by the movie’s often gorgeous visuals would find themselves equally stimulated by its dense meditations on life, death, love and the ties that bind us to the natural world. Maybe that’s short-changing the more astute young’uns out there, but there’s no denying that The Prophet, with its steadfast devotion to Gibran’s verse, is layered in the extreme.
Further blurring the intended audience for this take on the book is how it constructs a treacly Disney story within which to communicate the poet’s eloquent musings. Salma Hayek, as performer and producer, seems to have coaxed The Prophet – oft...
Further blurring the intended audience for this take on the book is how it constructs a treacly Disney story within which to communicate the poet’s eloquent musings. Salma Hayek, as performer and producer, seems to have coaxed The Prophet – oft...
- 8/7/2015
- by Isaac Feldberg
- We Got This Covered
Heritage and humanity, those are the two pivotal catalysts that empowered Mexican star Salma Hayek to pursue her most beloved passion project: an utterly ambitious animated reimagining of a literary classic. Produced by Hayek, “Kahlil Gibran’s The Prophet” is one of the most mesmerizing films of the year and a miraculous milestone in the history of animation.
Enlisting Roger Allers to direct the frame narrative and 8 other talented animators to create visually stunning interpretations of some of Gibran’s most insightful poems about love, death, and everything in between, Salma Hayek has been more than a producer.
She has spearheaded every aspect of the production and is now dedicating her every moment to get the word out about this transformative cinematic experience.
Her initial contact with The Prophet was through her Lebanese grandfather who treasured its pages for their heartfelt wisdom; however, the actress, who also voices Kamila in the film, reassured us that today her devotion for Gibran’s writing is even more personal. Hayek’s humanitarian work around the world and her role as a mother have given her a broader perspective of the current state of the world, and in that sense this film represents her efforts to advocate for tolerance and compassion.
Chatting with Hayek her immense enthusiasm and attachment for this gem of a film are tangible. It’s clear her involvement thrives on a genuine desire to share Gibran’s message with the world through the artistic triumph she, her directors, and cast, have achieved.
Here is our brief conversation with Salma Hayek who will next be seen in Toronto for the premier of "Septembers of Shiraz."
“Kahlil Gibran’s The Prophet” opens in L.A. and NYC on Friday August 7th.
Aguilar: This film is different from everything else you've done and it seems to be a deeply personal project for you. Why was it so important for you make this project a reality and what's your personal connection to Gibran's poetry?
Salma Hayek: This film is very, very important for me. It's like a summary of many things that I am, of many things that worry me, and of many things that give me hope. My direct connection to it you already know it or you can read it elsewhere - about my grandpa- so let's use the time to talk about things you haven't read. I wanted to make a film that could touch the soul and that connected us with and reminded us of our humanity. I think that we are becoming dehumanized. With all the work I've down around the world, most of it regarding women, I often ask myself, "How could this be?"
Even if you don't do any of that work, you can see it in the news. How can it be possible that people don't value life? How can it possible for them to take someone else's life so easily? How can it be that we are becoming so dehumanized to such degree? Therefore, I wanted to make a film that could connect the viewer with their humanity. Kahlil Ginbran, with the poetry he wrote, touches all kinds of people. He unites people from all religions, people from all social backgrounds, people from all intellectual backgrounds. There are people who might not read a lot, but they still understand and they are moved by this poetry. People use this poetry for weddings and funerals, so it belongs to them in a very intimate way in their lives. I asked myself, "Why?" I think it's because his poetry talks about the simple things in life that unite us all: love, death, children, food. He talks about this things in way that celebrates life and in way that shows gratefulness for life.
That's a reason, but I also think there is another reason. When you read his poetry, and it has happened to me not only with his poetry but also with other things, you find a phrase here and a phrase there and when you hear it not only does it makes sense, but you feel like it's familiar. It's not because you have heard it before, but because when you listen to it you are not listening with your head. There is something within you, your instincts, that are telling you, "This is the truth." It sounds familiar to you because it's true. That's why I wanted to make this film and why it's so important for me.
It was also important for the film to be a communication vehicle for you with yourself and your humanity, but also within the family. The film can be watched by kids from 3-years-old to 103-years-old. When people come out after watching the film, if you don't want to talk, you are in a state in which you are invisibly hugging everyone around you. However, many times, especially children, want to talk after watching the film. Nowadays when you take your children to the movies, they might tell you about what they just saw, but it's not a conversation where they ask or tell you about something they experienced during the film or something that made them think. I think this film will be a communication channel between families.
Aguilar: Why did you think the best way to tell this story was with animation?
Salma Hayek: Because the other theme of the film is freedom, and because for children - who might not understand all the words - I needed to tell the story with images. But you can't tell or represent poetry with just images of people. Freedom, generosity, love, compassion are not faces; however, art can represent them very well with images. Images that are not bound by a body. When I speak about freedom, it's about freedom of the spirit. Freedom of the spirit can't be represented by a body. It has to be art. It has to be all the colors. It has to be something that moves and has no boundaries.
Aguilar: When saw the film for the first time, what was the sequence that captivated or surprised you the most?
Salma Hayek: I didn't see it for the first time as animation. I saw it every day throughout different stages. From developing the screenplay and finding the right story. I've never seen it for "the first time." I've seen it hundreds and hundreds of times, but every time I see it there are different phrases that stand out to me in different ways. It's incredible. I don't get tired of seeing it.
Aguilar: My favorite is "On Love" by Tomm Moore.
Salma Hayek: Oh my God! Tomm Moore is a genius.
Aguilar: It's one of the most beautiful sequences - animated or nor - that I've ever seen on screen.
Salma Hayek: Right in front of my bed in my room I have, well a TV - of course [Laughs] - and under the TV I have a print from the film and it's from the "On Love" sequence. You don't know how much I love that little piece of art. My husband and I look at it every day when we wake up and every day before going to sleep [Laughs].
Aguilar: When you were selecting what directors you wanted on board, how did you decide who would direct the frame structured story and who would be best for the poetry segments?
Salma Hayek: Roger wasn't on board at the beginning. Tomm More was on board to direct the "On Love" segment before Roger came on. They are two types of directors. We needed a director that understood a more accessible language for the main structured story, and Roger was perfect for that. "The Lion King" is a children's film that adults can also enjoy, and which has had a life after the film with theater. He was the perfect director to create this story. He also has a lot of experience in animation, which helped him collaborate with other directors. However, I want to make something very clear, all the directors in charge of the poem sequences had 100% creative freedom. They didn't have to use a specific color palette or anything. They could whatever they wanted.
Aguilar: The only thing they had was the poem.
Salma Hayek: Yes, and they were able to interpret it however they liked. We were very careful to include artists from different religions or with no religion, from different countries, of different ages. I thought that the more diverse their styles and personalities were, the better the film would be. That's why we chose these directors.
Aguilar: How has the film been received in Lebanon and do you plane to take it to Mexico as well?
Salma Hayek: In Lebanon, the film is a huge success. We beat "Avengers" on its second weekend. In Mexico I already have the premiere planed and I'm talks with a possible distributor.
Aguilar: Do you any plans of making a film in Mexico or in Spanish in the near future? If not, what are you working on now?
Salma Hayek: Not right now. I plan to only make one film this year. It's a film I'm also producing that it's very much about girl power. The female protagonist is not American, or Arab, or Latina, but it's based on a true story.
Enlisting Roger Allers to direct the frame narrative and 8 other talented animators to create visually stunning interpretations of some of Gibran’s most insightful poems about love, death, and everything in between, Salma Hayek has been more than a producer.
She has spearheaded every aspect of the production and is now dedicating her every moment to get the word out about this transformative cinematic experience.
Her initial contact with The Prophet was through her Lebanese grandfather who treasured its pages for their heartfelt wisdom; however, the actress, who also voices Kamila in the film, reassured us that today her devotion for Gibran’s writing is even more personal. Hayek’s humanitarian work around the world and her role as a mother have given her a broader perspective of the current state of the world, and in that sense this film represents her efforts to advocate for tolerance and compassion.
Chatting with Hayek her immense enthusiasm and attachment for this gem of a film are tangible. It’s clear her involvement thrives on a genuine desire to share Gibran’s message with the world through the artistic triumph she, her directors, and cast, have achieved.
Here is our brief conversation with Salma Hayek who will next be seen in Toronto for the premier of "Septembers of Shiraz."
“Kahlil Gibran’s The Prophet” opens in L.A. and NYC on Friday August 7th.
Aguilar: This film is different from everything else you've done and it seems to be a deeply personal project for you. Why was it so important for you make this project a reality and what's your personal connection to Gibran's poetry?
Salma Hayek: This film is very, very important for me. It's like a summary of many things that I am, of many things that worry me, and of many things that give me hope. My direct connection to it you already know it or you can read it elsewhere - about my grandpa- so let's use the time to talk about things you haven't read. I wanted to make a film that could touch the soul and that connected us with and reminded us of our humanity. I think that we are becoming dehumanized. With all the work I've down around the world, most of it regarding women, I often ask myself, "How could this be?"
Even if you don't do any of that work, you can see it in the news. How can it be possible that people don't value life? How can it possible for them to take someone else's life so easily? How can it be that we are becoming so dehumanized to such degree? Therefore, I wanted to make a film that could connect the viewer with their humanity. Kahlil Ginbran, with the poetry he wrote, touches all kinds of people. He unites people from all religions, people from all social backgrounds, people from all intellectual backgrounds. There are people who might not read a lot, but they still understand and they are moved by this poetry. People use this poetry for weddings and funerals, so it belongs to them in a very intimate way in their lives. I asked myself, "Why?" I think it's because his poetry talks about the simple things in life that unite us all: love, death, children, food. He talks about this things in way that celebrates life and in way that shows gratefulness for life.
That's a reason, but I also think there is another reason. When you read his poetry, and it has happened to me not only with his poetry but also with other things, you find a phrase here and a phrase there and when you hear it not only does it makes sense, but you feel like it's familiar. It's not because you have heard it before, but because when you listen to it you are not listening with your head. There is something within you, your instincts, that are telling you, "This is the truth." It sounds familiar to you because it's true. That's why I wanted to make this film and why it's so important for me.
It was also important for the film to be a communication vehicle for you with yourself and your humanity, but also within the family. The film can be watched by kids from 3-years-old to 103-years-old. When people come out after watching the film, if you don't want to talk, you are in a state in which you are invisibly hugging everyone around you. However, many times, especially children, want to talk after watching the film. Nowadays when you take your children to the movies, they might tell you about what they just saw, but it's not a conversation where they ask or tell you about something they experienced during the film or something that made them think. I think this film will be a communication channel between families.
Aguilar: Why did you think the best way to tell this story was with animation?
Salma Hayek: Because the other theme of the film is freedom, and because for children - who might not understand all the words - I needed to tell the story with images. But you can't tell or represent poetry with just images of people. Freedom, generosity, love, compassion are not faces; however, art can represent them very well with images. Images that are not bound by a body. When I speak about freedom, it's about freedom of the spirit. Freedom of the spirit can't be represented by a body. It has to be art. It has to be all the colors. It has to be something that moves and has no boundaries.
Aguilar: When saw the film for the first time, what was the sequence that captivated or surprised you the most?
Salma Hayek: I didn't see it for the first time as animation. I saw it every day throughout different stages. From developing the screenplay and finding the right story. I've never seen it for "the first time." I've seen it hundreds and hundreds of times, but every time I see it there are different phrases that stand out to me in different ways. It's incredible. I don't get tired of seeing it.
Aguilar: My favorite is "On Love" by Tomm Moore.
Salma Hayek: Oh my God! Tomm Moore is a genius.
Aguilar: It's one of the most beautiful sequences - animated or nor - that I've ever seen on screen.
Salma Hayek: Right in front of my bed in my room I have, well a TV - of course [Laughs] - and under the TV I have a print from the film and it's from the "On Love" sequence. You don't know how much I love that little piece of art. My husband and I look at it every day when we wake up and every day before going to sleep [Laughs].
Aguilar: When you were selecting what directors you wanted on board, how did you decide who would direct the frame structured story and who would be best for the poetry segments?
Salma Hayek: Roger wasn't on board at the beginning. Tomm More was on board to direct the "On Love" segment before Roger came on. They are two types of directors. We needed a director that understood a more accessible language for the main structured story, and Roger was perfect for that. "The Lion King" is a children's film that adults can also enjoy, and which has had a life after the film with theater. He was the perfect director to create this story. He also has a lot of experience in animation, which helped him collaborate with other directors. However, I want to make something very clear, all the directors in charge of the poem sequences had 100% creative freedom. They didn't have to use a specific color palette or anything. They could whatever they wanted.
Aguilar: The only thing they had was the poem.
Salma Hayek: Yes, and they were able to interpret it however they liked. We were very careful to include artists from different religions or with no religion, from different countries, of different ages. I thought that the more diverse their styles and personalities were, the better the film would be. That's why we chose these directors.
Aguilar: How has the film been received in Lebanon and do you plane to take it to Mexico as well?
Salma Hayek: In Lebanon, the film is a huge success. We beat "Avengers" on its second weekend. In Mexico I already have the premiere planed and I'm talks with a possible distributor.
Aguilar: Do you any plans of making a film in Mexico or in Spanish in the near future? If not, what are you working on now?
Salma Hayek: Not right now. I plan to only make one film this year. It's a film I'm also producing that it's very much about girl power. The female protagonist is not American, or Arab, or Latina, but it's based on a true story.
- 8/5/2015
- by Carlos Aguilar
- Sydney's Buzz
A textbook demonstration of how good intentions don’t always make for good moviemaking, “Kahlil Gibran’s The Prophet” features an all-star cast of vocal performers and a telling list of name-brand animators behind the scenes as well. A clear labor of love where the labor shows, “The Prophet” has a framing story directed by Roger Allers (“Aladdin”), with additional vignettes from eight animation directors including Bill Plympton, Nina Paley and others. Partially backed by Participant Media — with Hayek herself among the list of producers — “The Prophet” feels like a film curiously divided against itself. Adults may not need the.
- 8/4/2015
- by James Rocchi
- The Wrap
I sat down with Hayek recently in Doha, where her animated film, which debuted at Cannes, closed the Ajyal Youth Film Festival. Hayek, who produced "Kahlil Gibran’s The Prophet" (opening Friday from Gkids) and voices the character of Kamila, described how her connection to Gibran’s inspirational book, which has sold more than 100 million copies since its 1923 publication, initially came through her Lebanese grandfather. With its absence of plot and parable-like soliloquies, “Kahlil Gibran’s The Prophet” was always going to be a tough adaptation but Hayek brought the same stubborn determination that allowed her to get “Frida” and “Ugly Betty” made to bring her labor of love to fruition. Creatively, her solution was to install “The Lion King” director Roger Allers at the helm and give individual chapters to different internationally renowned animators, granting them total creative freedom. Allers then wove these eight strands together with a framing narrative added on top of.
- 8/3/2015
- by Matt Mueller
- Thompson on Hollywood
First off, let's make one thing clear. We're not scratching our heads at Spike Lee's "Do The Right Thing" making the BBC's 100 greatest American films. That movie, of which an image accompanies this post, not only made the list, but ranked appropriately at no. 25. It's the rest of the selections that have us scratching and, yes, shaking our heads in disbelief. A wonderful page view driver, these sorts of lists make great fodder for passionate movie fans no matter what their age or part of the world they hail from. There is nothing more entertaining than watching two critics from opposite ends of the globe try to debate whether "The Dark Knight" should have been nominated for best picture or make a list like this. Even in this age of short form content where Vines, Shapchats and Instagram videos have captured viewers attention, movies will continue to inspire because...
- 7/22/2015
- by Gregory Ellwood
- Hitfix
Leave it to the Brits to compile a list of the best American films of all-time. BBC Culture has published a list of what it calls "The 100 Greatest American Films", as selected by 62 international film critics in order to "get a global perspective on American film." As BBC Culture notes, the critics polled represent a combination of broadcasters, book authors and reviewers at various newspapers and magazines across the world. As for what makes an American filmc "Any movie that received funding from a U.S. source," BBC Culture's publication states, which is to say the terminology was quite loose, but the list contains a majority of the staples you'd expect to see. Citizen Kane -- what elsec -- comes in at #1, and in typical fashion The Godfather follows at #2. Vertigo, which in 2012 topped Sight & Sound's list of the greatest films of all-time, comes in at #3 on BBC Culture's list.
- 7/21/2015
- by Jordan Benesh
- Rope of Silicon
Every now and then a major publication or news organisation comes up with a top fifty or one hundred films of all time list - a list which always stirs up debate, discussion and often interesting arguments about the justifications of the list's inclusions, ordering and notable exclusions.
Today it's the turn of BBC Culture who consulted sixty-two international film critics including print reviews, bloggers, broadcasters and film academics to come up with what they consider the one-hundred greatest American films of all time. To qualify, the film had to be made by a U.S. studio or mostly funded by American money.
Usually when a list of this type is done it is by institutes or publications within the United States asking American critics their favourites. This time it's non-American critics born outside the culture what they think are the best representations of that culture. Specifically they were asked...
Today it's the turn of BBC Culture who consulted sixty-two international film critics including print reviews, bloggers, broadcasters and film academics to come up with what they consider the one-hundred greatest American films of all time. To qualify, the film had to be made by a U.S. studio or mostly funded by American money.
Usually when a list of this type is done it is by institutes or publications within the United States asking American critics their favourites. This time it's non-American critics born outside the culture what they think are the best representations of that culture. Specifically they were asked...
- 7/21/2015
- by Garth Franklin
- Dark Horizons
Montreal’s genre film festival to showcase 135 features and almost 300 shorts across its three-week run from July 14-Aug 4.Scroll down for line-up
Fantasia International Film Festival has unveiled its full line-up for its upcoming 19th edition which kicks off next Tuesday [July 14].
Over its three-week run, the Montreal-based genre film festival will showcase 135 features, including 22 world, 13 international premieres and 21 North American premieres, and almost 300 short films.
Shinji Higuchi’s Attack on Titan will receive its Canadian premiere as the closing film of this year’s edition on Aug 4. The live-action film is based on Hajime Isyama’s steampunk fantasy war opera manga series.
Additional highlights of the final wave of titles include the world premieres of Malik Bader’s thriller Cash Only and Ken Ochiai’s Ninja the Monster, as well as the Canadian premiere of Jonathan Milott & Cary Murnion’s horror comedy Cooties starring Elijah Wood.
A trio of Sion Sono films will also be shown at this...
Fantasia International Film Festival has unveiled its full line-up for its upcoming 19th edition which kicks off next Tuesday [July 14].
Over its three-week run, the Montreal-based genre film festival will showcase 135 features, including 22 world, 13 international premieres and 21 North American premieres, and almost 300 short films.
Shinji Higuchi’s Attack on Titan will receive its Canadian premiere as the closing film of this year’s edition on Aug 4. The live-action film is based on Hajime Isyama’s steampunk fantasy war opera manga series.
Additional highlights of the final wave of titles include the world premieres of Malik Bader’s thriller Cash Only and Ken Ochiai’s Ninja the Monster, as well as the Canadian premiere of Jonathan Milott & Cary Murnion’s horror comedy Cooties starring Elijah Wood.
A trio of Sion Sono films will also be shown at this...
- 7/7/2015
- by ian.sandwell@screendaily.com (Ian Sandwell)
- ScreenDaily
The 19th Annual Fantasia Film Festival is only a week away, beginning July 14 and running through August 4. And as promised for today, they’ve revealed their full line-up of films screening at 2015’s festival in Montreal.
This year’s line-up boasts 22 World Premieres, 13 International Premieres, and 21 North American Premieres. Both Marvel’s Ant-Man and the animated Miss Hokusai were previously announced, but now they’ve added the much anticipated Attack on Titan movie as their closing night film. Other highlights include the Sundance darlings Cooties, starring Elijah Wood and Rainn Wilson, Cop Car, starring Kevin Bacon and directed by the upcoming Spider-man director Jon Watts, and a trio of films from horror auteur Sion Sono.
See the full line-up announcement of films below via Fantasia’s Facebook page, and be sure to check out their website at fantasiafestival.com for additional information.
****
Fantasia 2015:
36 Countries, 135 Features, and Nearly 300 Short Films
- Including 22 World Premieres,...
This year’s line-up boasts 22 World Premieres, 13 International Premieres, and 21 North American Premieres. Both Marvel’s Ant-Man and the animated Miss Hokusai were previously announced, but now they’ve added the much anticipated Attack on Titan movie as their closing night film. Other highlights include the Sundance darlings Cooties, starring Elijah Wood and Rainn Wilson, Cop Car, starring Kevin Bacon and directed by the upcoming Spider-man director Jon Watts, and a trio of films from horror auteur Sion Sono.
See the full line-up announcement of films below via Fantasia’s Facebook page, and be sure to check out their website at fantasiafestival.com for additional information.
****
Fantasia 2015:
36 Countries, 135 Features, and Nearly 300 Short Films
- Including 22 World Premieres,...
- 7/7/2015
- by Brian Welk
- SoundOnSight
Here's the official USA release trailer for Salma Hayek's adaptation of Khalil Gibran’s "The Prophet" - an animated feature for the big screen, co-produced with Doha Film Institute and Participant Media. Each of the chapters in the literary work was directed by a different filmmaker, including: Animation director Roger Allers ("The Lion King"), in charge of the through-line narrative, while individual chapters were handled by filmmakers like Tomm Moore ("The Secret Of Kells"), Joan Gratz ("Mona Lisa Descending a Staircase"), Bill Plympton ("Guard Dog and Your...
- 5/4/2015
- by Tambay A. Obenson
- ShadowAndAct
About one month ago, we featured a beautiful international trailer for an animated adaptation of Kahlil Gibran’s The Prophet, a big screen version of the collection of prose and poems known around the world. Now another gorgeous domestic trailer for the film featuring several different kinds of animation has arrived, all connected by an artist (Liam Neeson), his housekeeper (Salma Hayek), and her daughter (voiced by Quvenzhané Wallis). This looks like it'll be a nice break from the blockbuster action extravaganzas late this summer, with wonderful animation to stimulate your eyes and your mind. There's also supposed to be some great new music from Glen Hansard, Damien Rice and Yo-Yo Ma. Watch below! Here's the Us trailer for Kahlil Gibran’s The Prophet from Gkids Films: You can still watch the previous international trailer for Kahlil Gibran’s The Prophet right here. Kahlil Gibran's The Prophet is directed by Roger Allers,...
- 5/2/2015
- by Ethan Anderton
- firstshowing.net
Read More: Salma Hayek's Animated Passion Project 'Kahlil Gibran's The Prophet' Acquired by Gkids "The Prophet" by Lebanese author Kahlil Gibran, is among the most popular pieces of poetry in the world. Now, the animators behind such masterpieces as "The Lion King," "The Secret of Kells" and "Song of the Sea" have brought the story to animated life, and Gkids, the film's distributor, has just debuted a stunning new U.S. trailer. Produced and spearheaded by Salma Hayek, "Kahlil Gibran's The Prophet" was an official selection at Cannes and made its North American premiere at the Toronto International Film Festival. The script was written by Roger Allers ("The Lion King") and blends together individual sequences based on Gibrain's poems. Each segment is animated by a different filmmaker, including Tomm Moore ("The Secret of Kells," "Song of the Sea"), Nina Paley ("Sita Sings the Blues")...
- 5/1/2015
- by Casey Cipriani
- Indiewire
Translated into over 40 languages, never spending a moment out of print, and selling over 100 million copies worldwide, it was probably inevitable that someone would bring Kahlil Gibran's "The Prophet" to the big screen. And indeed, it has been given the animated treatment and today the first U.S. trailer for the movie has arrived. Read More: Watch The First Trailer For Kahlil Gibran's Animated 'The Prophet' Helmed by "The Lion King" director Roger Allers, the picture features animated sequences by Bill Plympton, Joann Sfar, and more; the all-star voices of Liam Neeson, Salma Hayek, Quvenzhané Wallis, John Krasinski, Frank Langella, and Alfred Molina; and music by Yo-Yo Ma, Damien Rice, and Glen Hansard — this production hasn't missed a note in trying to bring the best to the table. Here's the official synopsis: Set in a Mediterranean sea-side village, Kamila cleans house for exiled artist and poet Mustafa,...
- 5/1/2015
- by Kevin Jagernauth
- The Playlist
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