If you ever considered catching up with mammoths of world literature in a moviesque nutshell, this 1993’s Japanese animation may be a good way to tick off the Indian epic “Ramayana.” Yes, you’ve read it correctly. Indian classic made in Japan. It was marketed as an Indian-Japanese co-production, and Indian Ram Mohan, the co-director, aided a lot with culture-sensitive elements during the proceedings. However, the majority of the crew involved in this production were Japanese and all the work took place in Japan.
The Legend of Prince Rama is screening at Japan Society
From the official website of the film, we can learn that: the Indian side was in charge of the scenario, art settings, dialogue recording, music, etc., while the Japanese side was in charge of the storyboards, background, original drawings, animation, coloring, photography, and editing. On the Indian side, top-notch scenario writer, music director, artists, and film actors of the day participated,...
The Legend of Prince Rama is screening at Japan Society
From the official website of the film, we can learn that: the Indian side was in charge of the scenario, art settings, dialogue recording, music, etc., while the Japanese side was in charge of the storyboards, background, original drawings, animation, coloring, photography, and editing. On the Indian side, top-notch scenario writer, music director, artists, and film actors of the day participated,...
- 1/18/2023
- by Joanna Kończak
- AsianMoviePulse
In today's horror highlights: Fantaspoa announces an online filmmaking contest and new streaming titles, filmmaker Ted Geoghegan launches the second episode of his new online radio program that dives into the history of cinema, and we have the international trailer for German horror film Hager, that just was released to Amazon Prime:
Fantaspoa at Home Online Filmmaking Contest + New Streaming Titles Available:
Porto Alegre, Brazil - 10 April 2019 - Weeks after launching its free worldwide movie streaming platform at www.fantaspoaathome.com, which will be available until the end of May, Brazil's Fantaspoa Film Festival is proud to announce the Fantaspoa at Home Online Filmmaking Contest. Being aware of the importance of quarantine to contain the spread of Covid-19, this film competition aims to encourage film production at home during these difficult times.
Submissions should be short films in the fantastic genre, and touch upon topics or themes related to the current pandemic.
Fantaspoa at Home Online Filmmaking Contest + New Streaming Titles Available:
Porto Alegre, Brazil - 10 April 2019 - Weeks after launching its free worldwide movie streaming platform at www.fantaspoaathome.com, which will be available until the end of May, Brazil's Fantaspoa Film Festival is proud to announce the Fantaspoa at Home Online Filmmaking Contest. Being aware of the importance of quarantine to contain the spread of Covid-19, this film competition aims to encourage film production at home during these difficult times.
Submissions should be short films in the fantastic genre, and touch upon topics or themes related to the current pandemic.
- 4/13/2020
- by Jonathan James
- DailyDead
Pixar and Studio Ghibli tend to spring to mind first when discussing great animation, but there’s a world beyond those two giants. Animated films have grown ever more artful and affecting as more and more folks realize that it’s never just been a medium for kids, with studios and indies alike creating stop-motion marvels, hand-drawn standouts, and CGI spectacles.
The genre has grown so much since we entered the current century, in fact, that it can be easy to forget the Academy Awards didn’t even recognize animation until 2001. As few as three movies were nominated per year until 2010, but since then animation’s increased prominence has been reflected in the race’s competitiveness. Not every worthy movie could make the cut on either the awards circuit or this list, sadly, but rest assured that “How to Train Your Dragon,” “The Secret of Kells,” “The Breadwinner,” and “Loving Vincent,...
The genre has grown so much since we entered the current century, in fact, that it can be easy to forget the Academy Awards didn’t even recognize animation until 2001. As few as three movies were nominated per year until 2010, but since then animation’s increased prominence has been reflected in the race’s competitiveness. Not every worthy movie could make the cut on either the awards circuit or this list, sadly, but rest assured that “How to Train Your Dragon,” “The Secret of Kells,” “The Breadwinner,” and “Loving Vincent,...
- 3/6/2020
- by Bill Desowitz, Kate Erbland, David Ehrlich, Zack Sharf, Anne Thompson, Chris O'Falt, Jude Dry, Steve Greene, Ryan Lattanzio, Jamie Righetti, Michael Nordine and Jenna Marotta
- Indiewire
This weekend is going to be so killer, dude! The poster for Jamielyn Lippman's Killer Weekend, produced by Blanc-Biehn Productions, has arrived. Also in today's Horror Highlights: Fantaspoa 2019 award winners, Celebrity Crush trailer and Dances With Films premiere details, as well as a concept trailer and poster for The Last Blockbuster.
Killer Weekend Release Details and Poster: "Blanc-Biehn, the production company by famed actors Michael Biehn and Jennifer Blanc-Biehn just released the poster for their new film, Killer Weekend, directed by Jamielyn Lippman (3 Years in Pakistan: The Erik Aude Story; When the Bough Breaks). The film will be released this fall.
The film stars Andy Davoli Vanessa Zima, Alex Urbom, Michael Biehn and features Jennifer Blanc.
Killer Weekend is a thriller about a young La girl named Kimberly (Zima) who’s enjoyed a lavish lifestyle thanks to a "dating app". With the help from a lowlife insurance agent, Fred...
Killer Weekend Release Details and Poster: "Blanc-Biehn, the production company by famed actors Michael Biehn and Jennifer Blanc-Biehn just released the poster for their new film, Killer Weekend, directed by Jamielyn Lippman (3 Years in Pakistan: The Erik Aude Story; When the Bough Breaks). The film will be released this fall.
The film stars Andy Davoli Vanessa Zima, Alex Urbom, Michael Biehn and features Jennifer Blanc.
Killer Weekend is a thriller about a young La girl named Kimberly (Zima) who’s enjoyed a lavish lifestyle thanks to a "dating app". With the help from a lowlife insurance agent, Fred...
- 6/5/2019
- by Tamika Jones
- DailyDead
As promised, Fantaspoa 2019 has announced the second wave of films, and we are here to share the list of screenings with our readers, along with the exciting news that the legendary Roger Corman will be in attendance as a special guest. Also in today's Horror Highlights: Universal and DeviantArt's "Heroes vs. Villains" Glass contest winners and DeviantArt's interview with M. Night Shyamalan, as well as a trailer for The Young Cannibals.
Fantaspoa 2019 Announces Second Wave of Films, Roger Corman to Attend: "Brazil's Fantaspoa, the largest genre film festival in Latin America, is proud to reveal the second wave of films selected for their upcoming fifteenth edition, running from May 16th through June 2nd. The celebrated genre film fest, which takes place annually in Porto Alegre will announce their full line-up, consisting of more than 100 films, on the first week of May.
The 2019 edition of the festival will pay an homage...
Fantaspoa 2019 Announces Second Wave of Films, Roger Corman to Attend: "Brazil's Fantaspoa, the largest genre film festival in Latin America, is proud to reveal the second wave of films selected for their upcoming fifteenth edition, running from May 16th through June 2nd. The celebrated genre film fest, which takes place annually in Porto Alegre will announce their full line-up, consisting of more than 100 films, on the first week of May.
The 2019 edition of the festival will pay an homage...
- 4/24/2019
- by Tamika Jones
- DailyDead
“Funan,” the story of a young mother trying to reunite her family during the Khmer Rouge regime in Cambodia of the 1970s, won both the Grand Prize and the Audience Award at the Animation Is Film Festival, held Oct. 19-21 in Los Angeles. The film, directed by Denis Do, made its North American debut at the event.
“’Funan’ reminds us that animation can tell any kind of story. This versatile medium is by no means limited to fantastical or extraordinary subjects, but is in fact uniquely suited to incredibly personal ones as well,” said Peter Debruge, jury chairman and Variety’s chief film critic. “With ‘Funan,’ Do explores what his Cambodian mother experienced at the hands of the Khmer Rouge regime, finding unexpected beauty within the horror of the situation. The jury agreed that the profound result actually feels more powerful by virtue of being made in animation.”
In addition,...
“’Funan’ reminds us that animation can tell any kind of story. This versatile medium is by no means limited to fantastical or extraordinary subjects, but is in fact uniquely suited to incredibly personal ones as well,” said Peter Debruge, jury chairman and Variety’s chief film critic. “With ‘Funan,’ Do explores what his Cambodian mother experienced at the hands of the Khmer Rouge regime, finding unexpected beauty within the horror of the situation. The jury agreed that the profound result actually feels more powerful by virtue of being made in animation.”
In addition,...
- 10/23/2018
- by Terry Flores
- Variety Film + TV
One film ran away with the two top prizes at Hollywood’s second annual Animation Is Film Festival (which ran October 19 – 21): Denis Do’s intense Cambodia family survival drama “Funan” won both the jury’s Grand Prize and the Audience Award, selected by festival attendees. The Special Jury Prize went to “Bunuel in the Labyrinth of the Turtles,” co-written and directed by Salvador Simó, which follows surrealist filmmaker Luis Buñuel and his producer friend Ramón as they shoot an ambitious documentary on the poverty-stricken remote Las Hurdes region in Spain.
Read More: ‘Mirai’ Could Mark GKids’ 11th Feature Oscar Nomination: Animation Is Film Festival
“’Funan’ reminds us that animation can tell any kind of story,” stated jury chairman Peter Debruge. “This versatile medium is by no means limited to fantastical or extraordinary subjects, but is in fact uniquely suited to incredibly personal ones as well. With ‘Funan,’ director Denis...
Read More: ‘Mirai’ Could Mark GKids’ 11th Feature Oscar Nomination: Animation Is Film Festival
“’Funan’ reminds us that animation can tell any kind of story,” stated jury chairman Peter Debruge. “This versatile medium is by no means limited to fantastical or extraordinary subjects, but is in fact uniquely suited to incredibly personal ones as well. With ‘Funan,’ director Denis...
- 10/23/2018
- by Anne Thompson
- Thompson on Hollywood
One film ran away with the two top prizes at Hollywood’s second annual Animation Is Film Festival (which ran October 19 – 21): Denis Do’s intense Cambodia family survival drama “Funan” won both the jury’s Grand Prize and the Audience Award, selected by festival attendees. The Special Jury Prize went to “Bunuel in the Labyrinth of the Turtles,” co-written and directed by Salvador Simó, which follows surrealist filmmaker Luis Buñuel and his producer friend Ramón as they shoot an ambitious documentary on the poverty-stricken remote Las Hurdes region in Spain.
Read More: ‘Mirai’ Could Mark GKids’ 11th Feature Oscar Nomination: Animation Is Film Festival
“’Funan’ reminds us that animation can tell any kind of story,” stated jury chairman Peter Debruge. “This versatile medium is by no means limited to fantastical or extraordinary subjects, but is in fact uniquely suited to incredibly personal ones as well. With ‘Funan,’ director Denis...
Read More: ‘Mirai’ Could Mark GKids’ 11th Feature Oscar Nomination: Animation Is Film Festival
“’Funan’ reminds us that animation can tell any kind of story,” stated jury chairman Peter Debruge. “This versatile medium is by no means limited to fantastical or extraordinary subjects, but is in fact uniquely suited to incredibly personal ones as well. With ‘Funan,’ director Denis...
- 10/23/2018
- by Anne Thompson
- Indiewire
Animator Nina Paley’s wit and imagination provide such unique delights that it seems almost churlish to complain that her second feature feels more like a tray of hors d’oeuvres than a full meal — even if it’s inspired by the traditional ritual feast of Passover Seder. But “Seder-Masochism” plays as considerably less of an organic whole than her prior “Sita Sings the Blues,” no doubt in large part because its concept evolved over several years’ course, during which some individual parts were released as standalone shorts.
Nonetheless, this antic nonbeliever’s take on the Book of Exodus is so full of invention that, moment-to-moment, its somewhat disjointed and episodic nature is easy to forgive. Even more than with “Sita,” music rights issues (Paley is a professed “open source activist” and “copyright abolitionist”) will complicate any prospective commercial distribution. But as that film ultimately found a substantial audience despite such hurdles,...
Nonetheless, this antic nonbeliever’s take on the Book of Exodus is so full of invention that, moment-to-moment, its somewhat disjointed and episodic nature is easy to forgive. Even more than with “Sita,” music rights issues (Paley is a professed “open source activist” and “copyright abolitionist”) will complicate any prospective commercial distribution. But as that film ultimately found a substantial audience despite such hurdles,...
- 10/19/2018
- by Dennis Harvey
- Variety Film + TV
The second Animation Is Film festival in Los Angeles will open with the North American premiere of Mamoru Hosoda’s Mirai on October 19, part of a four-film retrospective of the director’s work at the event, which also unveiled some of its competition films Wednesday. The fest, produced by Gkids in partnership with Annecy International Animation Film Festival, runs October 19-21 at the Tcl Chinese Theatre in Hollywood.
Mirai, written and directed by Hosada hailing from Japan’s Studio Chizu, is being released theatrically by Gkids on November 30 in both the original Japanese and an English-dubbed version after it premiered this year in the Directors’ Fortnight section at the Cannes Film Festival. Hosada will attend the festival.
The fest will feature more than 30 animated feature films from Asia, Europe, South America and North America, with juried and audience prizes. Also on tap: special footage from Disney’s Ralph Breaks the...
Mirai, written and directed by Hosada hailing from Japan’s Studio Chizu, is being released theatrically by Gkids on November 30 in both the original Japanese and an English-dubbed version after it premiered this year in the Directors’ Fortnight section at the Cannes Film Festival. Hosada will attend the festival.
The fest will feature more than 30 animated feature films from Asia, Europe, South America and North America, with juried and audience prizes. Also on tap: special footage from Disney’s Ralph Breaks the...
- 9/19/2018
- by Patrick Hipes
- Deadline Film + TV
The second-annual Animation Is Film Festival (October 19 – 21) will once again offer a diverse range of indie features from Asia, Europe, South America, and North America. Just as last year’s festival drew many animation fans to the Tcl Chinese in Hollywood, this iteration will impact the Oscar race because of the prestigious exposure.
Produced by GKids in partnership with Annecy International Animation Film Festival, Variety and Fathom Events, the festival will offer more than 30 titles, including 11 films in competition. Aif kicks off with the premiere of GKids’ Oscar contender, “Mirai,” a time-traveling story about a brother and sister from acclaimed Japanese director Mamoru Hosoda. There will also be a four-film retrospective of Hosodo’s work.
Aif will additionally spotlight footage from Disney’s Oscar contender, “Ralph Breaks the Internet” (November 21), and Sony’s highly-anticipated “Spider-Man Into the Spider-Verse” (December 14). There will also be a 20th anniversary screening of DreamWorks’ “Prince...
Produced by GKids in partnership with Annecy International Animation Film Festival, Variety and Fathom Events, the festival will offer more than 30 titles, including 11 films in competition. Aif kicks off with the premiere of GKids’ Oscar contender, “Mirai,” a time-traveling story about a brother and sister from acclaimed Japanese director Mamoru Hosoda. There will also be a four-film retrospective of Hosodo’s work.
Aif will additionally spotlight footage from Disney’s Oscar contender, “Ralph Breaks the Internet” (November 21), and Sony’s highly-anticipated “Spider-Man Into the Spider-Verse” (December 14). There will also be a 20th anniversary screening of DreamWorks’ “Prince...
- 9/19/2018
- by Bill Desowitz
- Indiewire
What have I stumbled upon?! What is this genius work of cinema?! Seder-Masochism is the new film by filmmaker Nina Paley (of Sita Sings the Blues previously) and it's totally amazing, brilliant, and hilarious. It's very hard to describe the film, but I will try. Seder-Masochism is an animated exploration of Judaism, featuring Moses and a few other characters singing and dancing to various pre-existing songs (of all kinds). I could almost describe this as fun animated YouTube short extended to a full-length feature, but it deserves more credit than that. It's also a personal film for Nina, as she interviews her father about her upbringing and his views on Judaism, while taking us on a journey into the history of Moses and the Book of Exodus. Paley's Seder-Masochism is one of the most unique and creative films I've seen at the Annecy Film Festival. It's not exactly perfectly polished...
- 6/15/2018
- by Alex Billington
- firstshowing.net
Why is Seder-Masochism different from all other Passover movies?
For one, this second animated feature from one-woman-band Nina Paley (Sita Sings the Blues) is a completely irreverent, occasionally hilarious and politically evocative look at the most famous of Jewish holidays. Secondly, it's got to be the only Passover movie that features a singing Moses — not to mention a singing Pharaoh and a bunch of dancing Egyptians and Jews — belting out classics by everyone from Louis Armstrong to Led Zeppelin to Gloria Gaynor to the chanteuse Dalida. All that's missing is The Bangles' "Walk Like an Egyptian,"...
For one, this second animated feature from one-woman-band Nina Paley (Sita Sings the Blues) is a completely irreverent, occasionally hilarious and politically evocative look at the most famous of Jewish holidays. Secondly, it's got to be the only Passover movie that features a singing Moses — not to mention a singing Pharaoh and a bunch of dancing Egyptians and Jews — belting out classics by everyone from Louis Armstrong to Led Zeppelin to Gloria Gaynor to the chanteuse Dalida. All that's missing is The Bangles' "Walk Like an Egyptian,"...
- 6/14/2018
- The Hollywood Reporter - Film + TV
Why is Seder-Masochism different from all other Passover movies?
For one, this second animated feature from one-woman-band Nina Paley (Sita Sings the Blues) is a completely irreverent, occasionally hilarious and politically evocative look at the most famous of Jewish holidays. Secondly, it's got to be the only Passover movie that features a singing Moses — not to mention a singing Pharaoh and a bunch of dancing Egyptians and Jews — belting out classics by everyone from Louis Armstrong to Led Zeppelin to Gloria Gaynor to the chanteuse Dalida. All that's missing is The Bangles' "Walk Like an Egyptian,"...
For one, this second animated feature from one-woman-band Nina Paley (Sita Sings the Blues) is a completely irreverent, occasionally hilarious and politically evocative look at the most famous of Jewish holidays. Secondly, it's got to be the only Passover movie that features a singing Moses — not to mention a singing Pharaoh and a bunch of dancing Egyptians and Jews — belting out classics by everyone from Louis Armstrong to Led Zeppelin to Gloria Gaynor to the chanteuse Dalida. All that's missing is The Bangles' "Walk Like an Egyptian,"...
- 6/14/2018
- The Hollywood Reporter - Movie News
A playfully irreverent jukebox musical that overlays Old Testament icons, autobiographical asides and well-known pops tunes, “Seder-Masochism” was always going to cause a stir. With her follow-up to 2008’s similarly ambitious “Sita Sings the Blues,” director Nina Paley delivers a feminist corrective to some foundational biblical myths that doubles as a sly commentary on Jewish-American identity.
Though the filmmaker will not be on hand to present the film at its world premiere this Monday, she’s created the one-size-fits-all Producer X title for whoever volunteers to represent the film throughout its festival life. Her friend Chantelle Hougland will represent the film in Annecy, and the filmmaker sent her stand-in with message for prospective buyers. “If they approach her,” says Paley, “I asked her to remind them that I’m a copyright abolitionist and a free culture activist. So if they’re still interested after that, then we should talk…”
How...
Though the filmmaker will not be on hand to present the film at its world premiere this Monday, she’s created the one-size-fits-all Producer X title for whoever volunteers to represent the film throughout its festival life. Her friend Chantelle Hougland will represent the film in Annecy, and the filmmaker sent her stand-in with message for prospective buyers. “If they approach her,” says Paley, “I asked her to remind them that I’m a copyright abolitionist and a free culture activist. So if they’re still interested after that, then we should talk…”
How...
- 6/11/2018
- by Ben Croll
- Variety Film + TV
One of the most prestigious events of its kind, and undoubtedly the oldest, France’s Annecy Intl. Animated Film Festival is set to once again become the temporary international capital of cartoons from June 11-16. Whittled down from more than 3,000 entries, the festival’s official selection boasts more than 200 features and shorts hailing from the world over, with the directors of competition films vying to join past winners including Wes Anderson, Hayao Miyazaki and Bill Plympton. But perhaps just as important, the festival, which notched a milestone last year with 10,000 accredited attendees, provides a state-of-the-art summit of artists and execs from all across the variegated walks of animated film.
Annecy’s feature competition slate boasts a range of crowd-pleasers (such as Nora Twomey’s “The Breadwinner” and Mamoru Hosoda’s “Mirai”) and more left-field entries such as Nina Paley’s “Seder-Masochism” and Santiago Caicedo’s “Virus Tropical.” None of the...
Annecy’s feature competition slate boasts a range of crowd-pleasers (such as Nora Twomey’s “The Breadwinner” and Mamoru Hosoda’s “Mirai”) and more left-field entries such as Nina Paley’s “Seder-Masochism” and Santiago Caicedo’s “Virus Tropical.” None of the...
- 6/6/2018
- by Andrew Barker
- Variety Film + TV
Embracing Hollywood’s animation grandees, France’s Annecy Intl. Animation Festival will screen exclusive first images of Disney’s “Ralph Breaks the Internet: Wreck It Ralph 2.” It will also host a world premiere of an unfinished version of Sony Pictures Animation’s Adam Sandler-voiced “Hotel Transylvania 3: Summer Vacation,” presented by director Genndy Tarkovsky, the Festival announced Monday in Paris unveiling its full 2018 line-up.
In feature terms, Annecy will open with Michel Ocelot’s Wild Bunch-sold “Dilili in Paris,” with the celebrated French director, whose “Kirikou and the Sorceress” brought down the flag on Europe’s arthouse animation build, attending Annecy to present the feature.
Special sneak peek screenings for “Wreck It Ralph 2” and “Hotel Transylvania 3” join director Dean DeBlois’ work-in-progress footage presentation of “How To Train Your Dragon: The Hidden World,” from DreamWorks Animation, which will open and close Annecy with two titles from its shorts program: “Bird Karma” and “Bilby.
In feature terms, Annecy will open with Michel Ocelot’s Wild Bunch-sold “Dilili in Paris,” with the celebrated French director, whose “Kirikou and the Sorceress” brought down the flag on Europe’s arthouse animation build, attending Annecy to present the feature.
Special sneak peek screenings for “Wreck It Ralph 2” and “Hotel Transylvania 3” join director Dean DeBlois’ work-in-progress footage presentation of “How To Train Your Dragon: The Hidden World,” from DreamWorks Animation, which will open and close Annecy with two titles from its shorts program: “Bird Karma” and “Bilby.
- 4/23/2018
- by John Hopewell and Jamie Lang
- Variety Film + TV
After naming Alfonso Cuarón the best-reviewed filmmaker of the 21st century and Jason Friedberg and Aaron Seltzer the worst, Metacritic’s next list explores the 25 best movies directed by women. Unsurprisingly, Kathryn Bigelow takes both the #1 and #2 spots with “Zero Dark Thirty” and “The Hurt Locker,” respectively.
Read MoreAlfonso Cuarón Is the Best Director of the 21st Century, According to Metacritic — See the Top 25
Bigelow became the first woman to win the Academy Award for Best Director with the latter, a painfully tense drama about the Iraq War. (Her latest, “Detroit,” just misses the list by a few points.) Ava DuVernay also shows up twice (with “Selma” and “13th”), as does Sarah Polley (“Away from Her” and “Stories We Tell”), while the likes of Sofia Coppola, Mia Hansen-Løve, and Maren Ade are represented as well. Here’s the data-driven review aggregator’s full list:
Read MoreUwe Boll Isn’t the...
Read MoreAlfonso Cuarón Is the Best Director of the 21st Century, According to Metacritic — See the Top 25
Bigelow became the first woman to win the Academy Award for Best Director with the latter, a painfully tense drama about the Iraq War. (Her latest, “Detroit,” just misses the list by a few points.) Ava DuVernay also shows up twice (with “Selma” and “13th”), as does Sarah Polley (“Away from Her” and “Stories We Tell”), while the likes of Sofia Coppola, Mia Hansen-Løve, and Maren Ade are represented as well. Here’s the data-driven review aggregator’s full list:
Read MoreUwe Boll Isn’t the...
- 7/30/2017
- by Michael Nordine
- Indiewire
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
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
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
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
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
"I am a prisoner. My crime? Poetry." After debuting at the Cannes Film Festival last year, the animated drama The Prophet is finally coming to the United States this year. Based on the book of prose and poems of the same name, the film features the voices of Liam Neeson, Salma Hayek, Quvenzhané Wallis, John Krasinski, Frank Langella, Alfred Molina and more, along with a myriad of animation styles to bring the friendship between a little girl and an imprisoned poet to life. Bill Plympton, Joann Sfar and more lend their animation expertise to the film that looks absolutely beautiful and breathtaking. Watch! Here's the teaser trailer for Kahlil Gibran's The Prophet from Gulf Film (via The Playlist): The Prophet is directed by Roger Allers, Paul and Gaëtan Brizzi, Joan C. Gratz, Mohammed Saeed Harib, Tomm Moore, Nina Paley, Bill Plympton, Joann Sfar, and Michal Socha. Inspired by the...
- 4/1/2015
- by Ethan Anderton
- firstshowing.net
Gkids, the American distributor behind 2015 animated Oscar nominees "The Tale of the Princess Kaguya" and "Song of the Sea," will release "Kahlil Gibran's The Prophet" in NY and La on August 7 before expanding wide the following week. This animated telling of Gibran's bestselling 1923 book, which premiered at Cannes, unfolds through standalone chapters by ten directors including Tomm Moore ("Song of the Sea"), Nina Paley ("Sita Sings the Blues") and Bill Plympton ("Cheatin'"). Co-producer Salma Hayek fought hard to bring the celebrated Lebanese poet's work to the screen, and helped close this deal. Salma Hayek on Why She's Passionate About "Kahlil Gibran’s The Prophet" The voice cast includes Liam Neeson, Salma Hayek, Quvenzhané Wallis, John Krasinski, Frank Langella and Alfred Molina. The score is by Oscar winner Gabriel Yared (The English Patient), with additional music by songwriters Damien...
- 3/24/2015
- by Ryan Lattanzio
- Thompson on Hollywood
Gkids said today it will release Kahlil Gibran’s The Prophet on August 7 in Los Angeles and New York before expanding it wide the following week. The animated pic based on the 1923 bestseller was spearheaded by Salma Hayek and features a narrative story written and directed by Roger Allers (The Lion King), with “chapters” based on Gibran's poems designed and directed by animation directors including Tomm Moore, Joan Gratz, Bill Plympton, Nina Paley, Joann Sfar, Paul and…...
- 3/24/2015
- Deadline
Youngsters and oldsters alike…here is the reel deal: The New York International Children’s Film Festival (Nyicff) will be making its presence known in the upcoming days. On tap for the 18th annual event will be a noted variety of creative animated films and shorts for all ages to enjoy and relish. The New York International Children’s Film Festival promises to serve up an array of animated showcases that boasts all styles and formats that should prove imaginative and appealing to our past and present childhood memories.
Please note that the Nyicff will run its operation from February 27, 2015 to March 22, 2015. Additionally, the majority of these impressive feature-length and short films have experienced critical acclaim overseas. Therefore, the impact of the Nyicff’s cinematic selections should be rewarding for ardent fans of animated film fodder designed to capture the spirit of its enthusiastic viewers.
Among the films being displayed...
Please note that the Nyicff will run its operation from February 27, 2015 to March 22, 2015. Additionally, the majority of these impressive feature-length and short films have experienced critical acclaim overseas. Therefore, the impact of the Nyicff’s cinematic selections should be rewarding for ardent fans of animated film fodder designed to capture the spirit of its enthusiastic viewers.
Among the films being displayed...
- 2/11/2015
- by Frank Ochieng
- SoundOnSight
Sketchy welcomes back Nafeeza Hussain to discuss Nina Paley’s 2009 animated feature “Sita Sings The Blues” featuring the lovely voice of Annette Hanshaw. Enjoy!
Listen on iTunes!
Music
Daddy Won’t You Please Come Home
by Annette Hanshaw
Follow Sketchy
facebook.com/SketchyPodcast
twitter.com/SketchyPodcast
SketchyPodcast@gmail.com
The post Sketchy Episode 155 – ‘Sita Sings The Blues’ appeared first on Sound On Sight.
Listen on iTunes!
Music
Daddy Won’t You Please Come Home
by Annette Hanshaw
Follow Sketchy
facebook.com/SketchyPodcast
twitter.com/SketchyPodcast
SketchyPodcast@gmail.com
The post Sketchy Episode 155 – ‘Sita Sings The Blues’ appeared first on Sound On Sight.
- 2/6/2015
- by Ryan Clagg
- SoundOnSight
Gkids, the American distributor behind 2015 animated Oscar nominees "The Tale of the Princess Kaguya" and "Song of the Sea," has picked up North American rights to "Kahlil Gibran's The Prophet." This animated telling of Gibran's bestselling 1923 book played the festival circuit, including a Cannes premiere, last year. It has been slated for a summer 2015 release. The film unfolds across standalone chapters by ten directors including Tomm Moore ("Song of the Sea"), Nina Paley ("Sita Sings the Blues") and Bill Plympton ("Cheatin'"). Co-producer Salma Hayek fought hard to bring the celebrated Lebanese poet's work to the screen, and helped close this deal. Watch: Salma Hayek on Why She's Passionate About "Kahlil Gibran’s The Prophet" The voice cast includes Liam Neeson, Salma Hayek, Quvenzhané Wallis, John Krasinski, Frank Langella and Alfred Molina. The score is by Oscar winner Gabriel Yared (The English...
- 2/5/2015
- by Ryan Lattanzio
- Thompson on Hollywood
Gkids, a distributor of award-winning animation for both adult and family audiences, has acquired the North American rights to "Kahlil Gibran's The Prophet," a film inspired by the beloved classic book by Kahlil Gibran. The gorgeously-animated story was crafted in a collaboration with artists, animators and musicians. The film was written and directed by Roger Allers ("The Lion King"), and individual "chapters" based on Gibran's poems have been designed and directed by various acclaimed animators from around the world, including Tomm Moore (Oscar nominee for "The Secret of Kells" and "Song of the Sea"), Joan Gratz (Oscar winner for "Mona Lisa Descending a Staircase"), Bill Plympton (Oscar nominee for "Guard Dog" and "Your Face"), Nina Paley (Annecy winner for "Sita Sings the Blues"), Joann Sfar (Cesar winner for "The Rabbi's Cat"), Paul and Gaetan Brizzi...
- 2/5/2015
- by Anya Jaremko-Greenwold
- Indiewire
Adaptation and appropriation are important subtexts to Nina Paley’s award-winning animated epic, Sita Sings the Blues. Paley herself became a cause célèbre among Fair Use activists seeking reforms to copyright law during her struggle to secure rights to jazz vocalist Annette Hanshaw’s recordings. With this video essay, I look at how Paley took inspiration from both the tragic story of Sita in the Ramayana and Annette Hanshaw's bittersweet torch songs to deal with her own breakup>>> - Kevin B. Lee...
- 10/28/2014
- Fandor: Keyframe
Adaptation and appropriation are important subtexts to Nina Paley’s award-winning animated epic, Sita Sings the Blues. Paley herself became a cause célèbre among Fair Use activists seeking reforms to copyright law during her struggle to secure rights to jazz vocalist Annette Hanshaw’s recordings. With this video essay, I look at how Paley took inspiration from both the tragic story of Sita in the Ramayana and Annette Hanshaw's bittersweet torch songs to deal with her own breakup>>> - Kevin B. Lee...
- 10/28/2014
- Keyframe
Name and focus changes for every section, which are now all competitive, resulting in the festival’s structure being “slimmer’.
The ninth Rome Film Festival (Oct 16-25) has revealed a diverse line-up including the Italian premieres for potential awards contenders including David Fincher’s Gone Girl. the world premiere of Takashi Miike’s As the Gods Will and Burhan Qurbani’s We are Young, We are Strong and European premiere of Oren Moverman’s Time Out of Mind, Toronto hit Still Alice and Kahlil Gibran’s The Prophet.
This year for the first time the award-winners in each section of the programme will be decided by the audience on the basis of votes cast after the screenings.
Each section has changed name and focus for 2014 and are all competitive, resulting in the festival’s structure being “slimmer’.
Italian comedies Soap Opera and Andiamo a Quel Paese bookend the line-up.
Full line-up
Cinema D’Oggi
World premiere
• Angely...
The ninth Rome Film Festival (Oct 16-25) has revealed a diverse line-up including the Italian premieres for potential awards contenders including David Fincher’s Gone Girl. the world premiere of Takashi Miike’s As the Gods Will and Burhan Qurbani’s We are Young, We are Strong and European premiere of Oren Moverman’s Time Out of Mind, Toronto hit Still Alice and Kahlil Gibran’s The Prophet.
This year for the first time the award-winners in each section of the programme will be decided by the audience on the basis of votes cast after the screenings.
Each section has changed name and focus for 2014 and are all competitive, resulting in the festival’s structure being “slimmer’.
Italian comedies Soap Opera and Andiamo a Quel Paese bookend the line-up.
Full line-up
Cinema D’Oggi
World premiere
• Angely...
- 9/29/2014
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
One of the highlights of the Cannes Film Festival for me this summer was a presentation of selected clips from "Kahlil Gibran's The Prophet," an ambitious animated film that adapts one of the most beloved works of poetry of the 20th Century, and I wrote in that piece that I hoped the final film would live up to the segments that I saw out of context. It is safe to say that is the case. Ultimately, this is a very simple, very direct film. There are plenty of movies playing at this festival that want to make you work for whatever meaning you take from them, but this feels like the opposite. "Kahlil Gibran's The Prophet" has been designed to be as emotionally direct as possible, easy to understand and very, very clear in its storytelling, and the result is a film that I would feel comfortable showing to my...
- 9/9/2014
- by Drew McWeeny
- Hitfix
Why Watch? In the spectrum of using an inappropriate platform to deliver an important social message, this short film from Nina Paley (Sita Sings the Blues) reaches Monty Python levels of purity and dedication. Eschewing the typically dry, somber way that profound conflict is often portrayed (while utilizing the absurdity of action movie violence), This Land is Mine strips away everything except murderous domination in order to color a history of a land with many names. Israel, Palestine, The Levant. This short doesn’t exactly offer illumination on the current crisis happening in Gaza, but it condenses thousands of years to show one angle on and beyond the devastation. Again, wacky animation with Andy Williams boldly crooning “The Exodus Song” and a body count rising is a teaching method with teeth. It’s aggressive, semi-satirical and proves you can laugh with your jaw on the floor. There’s a read on this movie that it crassly shares...
- 8/6/2014
- by Scott Beggs
- FilmSchoolRejects.com
Much like back to school sales in mid July, in our books, Tiff’s first announcement wave reminds us that the end of summer is upon us (we heart fall film festival bliss) and it also gets our team of journalists heading to Tiff in Charlie Foxtrot pickle of a situation as the Docs, Midnight Madness, Vanguard & Wavelengths get revealed in the weeks to come making for scheduling overload. Of star-struck, tickets sale friendly list of showy red carpet items mentioned today, we find our usual set of Oscar bait items (how odd that Quebecois helmers Jean-Marc Vallee and Philippe Falardeau both present tear-jerker items with Reese Witherspoon), acquisitions titles, and more importantly, our first look at items that are pretty much guaranteed a showing at this year’s Telluride and Venice Film Festivals. On tap, we have Mia Hansen-Løve’s Eden, Christian Petzold’s Phoenix, Noah Baumbach’s While...
- 7/22/2014
- by Eric Lavallee
- IONCINEMA.com
The Toronto International Film Festival (Tiff) has fired its awards season opening salvo, announcing a slew of world premieres for the September edition, which will close with Alan Rickman’s A Little Chaos.Scroll down for full list
Not to be outdone by the New York Film Festival, which has staked a claim to the world premieres of Gone Girl and Inherent Vice, and Venice, which will open with Birdman, artistic director Cameron Bailey and his team announced on Tuesday (22) close to 50 galas and special presentations.
Two factors are certain to ratchet up the sense of anticipation heading into September. Most of these titles are without Us distribution and that said, it remains to be seen which films will qualify for a coveted first-weekend slot.
Tiff top brass made it clear earlier this year that any title that sneaks into Telluride will be forced to screen after the first four days of the festival. Tiff runs from...
Not to be outdone by the New York Film Festival, which has staked a claim to the world premieres of Gone Girl and Inherent Vice, and Venice, which will open with Birdman, artistic director Cameron Bailey and his team announced on Tuesday (22) close to 50 galas and special presentations.
Two factors are certain to ratchet up the sense of anticipation heading into September. Most of these titles are without Us distribution and that said, it remains to be seen which films will qualify for a coveted first-weekend slot.
Tiff top brass made it clear earlier this year that any title that sneaks into Telluride will be forced to screen after the first four days of the festival. Tiff runs from...
- 7/22/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
The 39th Toronto International Film Festival has announced its initial slate of galas and special presentations, which includes 37 world premieres and several films with Oscar ambitions. The Judge, which stars Robert Downey Jr. as a big-city lawyer who reluctantly returns home and ends up defending his revered father (Robert Duvall) against criminal charges, will have its world premiere in Toronto. His Avengers pal, Chris Evans, will unveil his own directorial debut in Toronto, titled Before We Go.
Also noteworthy: James Gandolfini’s final film, The Drop, which also stars Tom Hardy and Noomi Rapace; another Jason Reitman Toronto world premiere,...
Also noteworthy: James Gandolfini’s final film, The Drop, which also stars Tom Hardy and Noomi Rapace; another Jason Reitman Toronto world premiere,...
- 7/22/2014
- by Jeff Labrecque
- EW - Inside Movies
This morning the first wave of the 2014 Toronto Film Festival lineup was announced and so far it's an impressive list of films including films from Noah Baumbach, Mike Leigh, David Gordon Green, Jason Reitman, Bennett Miller, David Cronenberg, Antoine Fuqua, Edward Zwick, Mikael Roskam, David Dobkin and many others. One surprising detail is there was no announcement of an opening film so along with everything below there is still at least one biggie on the way, and while they say it has nothing to do with their "premiere" mandate, I wouldn't be surprised if it might be Alejandro Gonzalez Inarritu's Birdman and they're waiting to see if it will be the North American premiere. Then again, could Birdman open both Toronto and Venicec But what else could it bec Maybe David Ayer's Furyc No chance for Christopher Nolan's Interstellar... or is therec Probably the films announced so far...
- 7/22/2014
- by Brad Brevet
- Rope of Silicon
The Toronto International Film Festival announced its initial wave of 2014 premieres and galas this morning and it features some familiar awards titles, some big stars and some unexpected studio titles. Among the major studio films, David Dobkin's "The Judge" with Robert Downey Jr. and Antoine Fuqua's "The Equalizer" each received gala slots and should premiere over the festival's opening weekend. Other announced galas so far include Bennett Miller's acclaimed "Foxcatcher," which debuted at Cannes, and Mike Binder's "Black and White" starring Kevin Costner, Octavia Spencer and Anthony Mackie. Toronto has also scheduled special gala screenings for David Cronenberg's "Map to the Stars" with Julianne Moore and Robert Pattinson, François Ozon's "The New Girlfriend," Ed Zwick's "Pawn Sacrifice" with Tobey Maguire, Lone Scherfig's "The Riot Club," Jean-Marc Vallée's "Wild," Olivier Nakache and Eric Toledano's "Samba" and Shawn Levy's "This is Where I Leave You...
- 7/22/2014
- by Gregory Ellwood
- Hitfix
Salma Hayek hit the Cannes Film Festival to present a work-in-progress screening of The Prophet, based on Khalil Gibran's philosophical novel. To share the story of the 1923 best-seller, director Roger Allers worked with Tomm Moore, Joan Gratz, Joann Sfar, Bill Plympton, Paul and Gaeton Brizzi, Michal Socha, Nina Paley and Mohammed Saeed Harib, as each helmed a different thematic section of the animated film. Photos: The Party Scene at Cannes "We have nine directors that have worked on this project, really hard, and we have amazing voices in this too, amazing actors," she told The
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- 5/17/2014
- by Rebecca Ford, Ashley Lee
- The Hollywood Reporter - Movie News
Exclusive: Sales powerhouse also takes on Bertrand Bonello’s Paris Is Happening and Andrew Dominik’s Blonde.
Wild Bunch has picked up sales on the Selma Hayek-produced Kahlil Gibran’s The Prophet ahead of its special presentation in Cannes.
Based on the inspirational poem by early 20th century, Lebanese writer Kahlil Gibran, the high profile adaptation is currently in post-production.
Hayek will present a work-in-progress in Cannes’ Official Selection on May 17. The actress also features in the voice cast alongside Liam Neeson, John Krasinski, Frank Langella, Alfred Molina and Quvenzhané Wallis.
The animated, portmanteau picture features the work of Roger Allers, Tomm Moore, Tichal Socha, Joan Gratz, Nina Paley, Joann Sfar, Bill Plympton, Mohammed Harib, and Paul and Gaetan Brizzi, who will all also be present at the event.
Other late additions to Wild Bunch’s slate include Paris Is Happening by Bertrand Bonello who is in competition with Saint Laurent.
The film kicks...
Wild Bunch has picked up sales on the Selma Hayek-produced Kahlil Gibran’s The Prophet ahead of its special presentation in Cannes.
Based on the inspirational poem by early 20th century, Lebanese writer Kahlil Gibran, the high profile adaptation is currently in post-production.
Hayek will present a work-in-progress in Cannes’ Official Selection on May 17. The actress also features in the voice cast alongside Liam Neeson, John Krasinski, Frank Langella, Alfred Molina and Quvenzhané Wallis.
The animated, portmanteau picture features the work of Roger Allers, Tomm Moore, Tichal Socha, Joan Gratz, Nina Paley, Joann Sfar, Bill Plympton, Mohammed Harib, and Paul and Gaetan Brizzi, who will all also be present at the event.
Other late additions to Wild Bunch’s slate include Paris Is Happening by Bertrand Bonello who is in competition with Saint Laurent.
The film kicks...
- 5/14/2014
- ScreenDaily
Closing them on my browser so you can open them on yours, a list of various things that I haven’t had time to write full posts about. Here we go again…
Big comics to TV news with AMC announcing “Preacher” from Seth Rogen, Evan Goldberg & Sony TV and Syfy developing DC Comics-based future civil war series Dmz. Congrats to Garth Ennis, Steve Dillon, Brian Wood, and Riccardo Burchielli. We also understand that Jesse Eisenberg has been cast as Lex Luthor in the sequel to Man Of Steel. Furthermore, we understand this is the retcon origin of his hatred of Superman:
Joe Illidge has started writing The Color Barrier: A Message of Comics, Diversity & Hope over at Cbr. A slightly different way comics have invaded our minds: Batman On Steroids: How The NFL On Fox Theme Song Was Born. With ticket sales for San Diego starting yesterday, here’s...
Big comics to TV news with AMC announcing “Preacher” from Seth Rogen, Evan Goldberg & Sony TV and Syfy developing DC Comics-based future civil war series Dmz. Congrats to Garth Ennis, Steve Dillon, Brian Wood, and Riccardo Burchielli. We also understand that Jesse Eisenberg has been cast as Lex Luthor in the sequel to Man Of Steel. Furthermore, we understand this is the retcon origin of his hatred of Superman:
Joe Illidge has started writing The Color Barrier: A Message of Comics, Diversity & Hope over at Cbr. A slightly different way comics have invaded our minds: Batman On Steroids: How The NFL On Fox Theme Song Was Born. With ticket sales for San Diego starting yesterday, here’s...
- 2/9/2014
- by Glenn Hauman
- Comicmix.com
First announced early last year, Salma Hayek has teamed up with the Doha Film Institute and Participant Media to adapt Khalil Gibran’s classic novel The Prophet as an animated feature for the big screen. It was said that each of the chapters in the novel would be directed by a different filmmaker, including: Animation director Roger Allers (The Lion King), who'll be in charge of the through-line narrative, while individual chapters will be handled by filmmakers like Tomm Moore (The Secret Of Kells), Joan Gratz (Mona Lisa Descending A Staircase), Bill Plympton (Guard Dog And Your Face), Nina Paley (Sita Sings The Blues), Joann Sfar (The...
- 6/19/2013
- by Tambay A. Obenson
- ShadowAndAct
Khalil Gibran’s The Prophet is heading to the big screen as an animated feature, and now Salma Hayek’s passion project (she’s onboard as producer) has landed an all-star cast that includes John Krasinski, Frank Langella, Alfred Molina, Liam Neeson and Quvenzhané Wallis, along with Hayek.
The special thing about this project is that it’ll be there are a number of directors on board. Each director will adapt each of the 89-year old classic’s chapters. Roger Allers (The Lion King) is responsible for connecting all of the narrative.
Some of the directors onboard are Marjane Satrapi (Oscarnominated for Persepolis), Chris Landreth (Oscar winner for short “Ryan”), Tomm Moore (Oscar nominated for The Secret of Kells), Nina Paley (Berlin Film Festival winner for Sita Sings the Blues), Mohammed Saeed Harib (creator of hit series “Freej”), Michal Socha, Francesco Testa, Joan Gratz (Oscar winner for Mona Lisa Descending...
The special thing about this project is that it’ll be there are a number of directors on board. Each director will adapt each of the 89-year old classic’s chapters. Roger Allers (The Lion King) is responsible for connecting all of the narrative.
Some of the directors onboard are Marjane Satrapi (Oscarnominated for Persepolis), Chris Landreth (Oscar winner for short “Ryan”), Tomm Moore (Oscar nominated for The Secret of Kells), Nina Paley (Berlin Film Festival winner for Sita Sings the Blues), Mohammed Saeed Harib (creator of hit series “Freej”), Michal Socha, Francesco Testa, Joan Gratz (Oscar winner for Mona Lisa Descending...
- 6/19/2013
- by Laura Frances
- LRMonline.com
Khalil Gibran's The Prophet has unveiled an all-star voice cast.
Liam Neeson, Salma Hayek, John Krasinski, Frank Langella, Alfred Molina and Quvenzhané Wallis have all been announced for the animated feature, reports Deadline.
Hayek will produce the movie for writer-director Roger Allers, who has worked on Disney's The Lion King, Aladdin, Beauty and the Beast and The Little Mermaid.
Published in 1923, The Prophet is a collection of 26 prose poetry essays by Lebanese artist, philosopher and writer Gibran.
Allers will direct the narrative story, with contributions from Marjane Satrapi, Tomm Moore, Joan Gratz, Bill Plympton, Nina Paley, Joann Sfar, Paul and Gaetan Brizzi, Michal Socha and Mohammed Harib , who will direct different segments based on the essays in the book.
The Prophet will be completed by Spring 2014.
Liam Neeson, Salma Hayek, John Krasinski, Frank Langella, Alfred Molina and Quvenzhané Wallis have all been announced for the animated feature, reports Deadline.
Hayek will produce the movie for writer-director Roger Allers, who has worked on Disney's The Lion King, Aladdin, Beauty and the Beast and The Little Mermaid.
Published in 1923, The Prophet is a collection of 26 prose poetry essays by Lebanese artist, philosopher and writer Gibran.
Allers will direct the narrative story, with contributions from Marjane Satrapi, Tomm Moore, Joan Gratz, Bill Plympton, Nina Paley, Joann Sfar, Paul and Gaetan Brizzi, Michal Socha and Mohammed Harib , who will direct different segments based on the essays in the book.
The Prophet will be completed by Spring 2014.
- 6/19/2013
- Digital Spy
Exclusive: Liam Neeson, Salma Hayek, John Krasinski, Frank Langella, Alfred Molina and Quvenzhané Wallis have all joined the voice cast of Khalil Gibran’s The Prophet, the animated feature film written and directed by Roger Allers, whose animation credits include directing Disney’s The Lion King and Open Season and whose writing and storyboard work encompasses such films as Aladdin, Beauty And The Beast, and The Little Mermaid. The film is being produced by Hayek, Clark Peterson, and Ron Senkowski. Participant Media and Doha Film Institute are financing and are exec producers. Allers’ script was inspired by The Prophet, the iconic book that is one of the biggest sellers in history, north of 100 million copies in over 40 languages since it was first published by Alfred Knopf in 1923. Allers is directing the narrative story, while individual chapters based on Gibran’s poems are being helmed by animation directors from around the world,...
- 6/18/2013
- by MIKE FLEMING JR
- Deadline
First announced earlier this year , the animated adaptation of Khalil Gibran's The Prophet has now announced that a number of major talents will be providing voices. Deadline reports that Salma Hayek, John Krasinski, Frank Langella, Alfred Molina, Liam Neeson and Quvenzhané Wallis will all take part in the project which has a different director adapting each of the 89-year old classic's chapters. Roger Allers ( The Lion King ) is responsible for the connective through-line narrative. Among the directors committed to the project are Marjane Satrapi (Oscarnominated for Persepolis ), Chris Landreth (Oscar winner for short "Ryan"), Tomm Moore (Oscar nominated for The Secret of Kells ), Nina Paley (Berlin Film Festival winner for Sita Sings the Blues ), Mohammed Saeed...
- 6/18/2013
- Comingsoon.net
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