the princess diaries was anne hathaway’s first movie and like can you imagine being in her place and just casually being told oh btw julie andrews is your co-star no pressure welcome to hollywood
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i don’t think anyone fully understands how iconic of a film the princess diaries truly is. everything in that film is iconic. the apartment/firehouse. the scooters as a method of transportation. “get off the grass” in 4 languages. “please don’t crush my soy nuts.” the mustang. the weird neighbor who writes poetry. the m&ms on the keyboard and the pizza. “it’s a wango?” lily’s otter backpack. the whole paolo makeover sequence. every foot pop. stop me i could go on forever the princess diaries is so iconic it’s on the same level of iconography as star wars (1977)
Anne Hathaway’s character in Devil Wears Prada literally just starts dressing better and taking an interest in her work and her friends act like she’s an awful person who has “changed”. Like bitch THIS IS NOT A LINDSAY LOHAN MEAN GIRLS MOMENT all she did was get the new Chanel boots.
ok so in the timeless classic Princess Diaries 2: Royal Engagement it is declared that mia can’t be queen without a husband, but the law as it is stated is “Genovia shall have no queen lest she be bound in matrimony” and in fact makes no mention of a husband and all im saying is that mia really should have married lilly and they should have been double queens together
In a Heartbeat - Animated Short Film (2017)
A closeted boy runs the risk of being outed by his own heart after it pops out of his chest to chase down the boy of his dreams.
© Beth David and Esteban Bravo 2017
It’s here! After a year and a half of hard work, we are both so excited to finally share our film with you. Thank you all for your support and encouragement - this film means the world to us, and your kindness and enthusiasm has made this journey all the more meaningful. It is our great pleasure to share with you this labor of love, and we hope with all our hearts that you enjoy watching it as much as we did making it.
<3
YouTube: https://www.youtube.com/watch?v=2REkk9SCRn0
Vimeo: https://vimeo.com/227690432
Let it be known that an Iranian film just won best foreign film and the director isn’t there to accept it in protest of Trump
Also, the 21 year old Syrian cinematographer Khaled Khateeb who worked on White Helmets, a film about the Syrian volunteer rescue workers which just won best documentary short feature, was not allowed into the US. He was supposed to arrive Saturday, but Homeland Security decided at the last minute not to let him in.
Honestly, I think the people mad at The Last Jedi for being “not like Star Wars” are missing the point of the movie.
At its core, the The Last Jedi is a film learning to move on from the past, and accepting that you can’t go back to the way things were. It’s not even particularly subtle about it. It’s not even subtext, the message is literally stated by at least two different characters in the film.
Heck, every plot twist and subversion of Star Wars tropes is done with the intent of sticking to this central message. The mystery of Rey’s parents is solved in the most anticlimactic manner possible. Snoke is killed before the trilogy even ends. Finn’s heroic rescue mission is given major focus, only for it to end in a failure that forces a change in tactics. All of this might seem dissatisfying, but it’s actually there for a reason. These plot points are set up in a way such that they appear similar to plot threads in the original trilogy. A mystery of the main character’s lineage, a powerful wielder of the Dark Side who commands a massive empire, a rescue mission against seemingly impossible odds. And in the end, they’re subverted, and they’re subverted specifically for the purpose of emphasizing that you can’t always cling to the past, that the Galaxy Far Away of today is not the same as it was forty years ago.
And keeping in line with this central theme? The primary villains, the First Order, are intentionally structured in-universe to evoke the Galactic Empire, which had been defeated decades ago. They want to re-create the past as they imagined it to exist, and are willing to commit any number of atrocities to do so. The villains are explicitly built around nostalgia for an idealized Old Days that disregards a history of brutal oppression, and that’s a part of what makes their fascist dogma so frighteningly close to actual fascists today.
Even putting aside the political commentary, on an even deeper level it’s a commentary on Star Wars as a cultural institution in itself. Star Wars as an icon of pop culture is one that is built on nostalgia, on the fond memories of the original trilogy that skyrocketed it to worldwide popularity in the first place. But at the same time, that nostalgia has also been hugely limiting, as anything new that comes out of it has to live within the shadow of its own legacy. The Prequel Trilogy has far and away suffered the most for this, as even if they weren’t bad films on their own merits, they couldn’t have been the films people wanted them to be. Both LucasFilm and fans of Star Wars built Episode I up as something that could fully recapture the magic of seeing Star Wars in theaters for the first time. But no matter how good Episode I was or could have been, it couldn’t have recreated that experience, because there is nothing in the world that could.
Rian Johnson recognized the problem, and chose to address it in a unique way: by writing a film that’s fundamentally about learning to accept that things aren’t going to be the same as they were, while simultaneously creating something new in the same spirit. Just as Yoda burned down the last of the ancient Jedi texts so that a new generation can build something better, The Last Jedi itself discards the old series conventions, while simultaneously building a movie that retains the central Star Wars spirit of finding hope against seemingly impossible odds.
The Last Jedi tells us that nostalgia is overrated. That’s why it’s such a brilliant film.
movie theatre culture is fun and all but some filmmakers become too elitist about it and want to pretend it’s the only way to enjoy/be immersed in cinema and honestly.. given today’s technology and accessibility.. if your film can only be enjoyed in 70mm and not from my laptop screen then it’s not very good, christopher
since there are a few prententious film nerds missing my point: films that can ONLY be enjoyed in theatres fall short bc they cannot be universally enjoyed by people who either can’t afford to go to the theatres, and/or are impeded by any disabilities.
there are plenty of films that completely immerse me even though I’m watching on a small screen, and dunkirk isn’t one of them. I did go see that in theatres and actually enjoyed a Nolan movie for the first time, but watching it again at home was like a completely different movie, and not a very good one.
I love going to the movies, I love the experience, but filmmakers who RELY on the big screen to enhance their films into something watchable are really not as great you think they are bc they’re cutting off a HUGE part of their audience who can’t watch it “the way it’s intended”
before ya’ll jump on To The Bone (2017) for romanticizing eating disorders in the same way 13rw romanticizes suicide, keep in mind that the film is written and directed by Marti Noxon who based the film on her own personal struggles with eating disorders and stars lily collins who has also been very public about her battles with eating disorders. also the cast (including Keanu Reeves) have been raising awareness about eating disorders since early 2016 (when they began filming). of course you should steer clear of any potentially triggering content if you have an ed, I just wanted to point out that To The Bone has not been composed in the same circumstance as 13rw
Deadpool should have leaked a fake version of the film where it’s just Deadpool playing with action figures reenacting the entire film.
tbh i would probably enjoy that just as much as i enjoyed the real movie
artemislwest