TEXT: “The female characters in the ‘30s movies are very strong. You have to remember that in the ‘20s and ‘30s, and even the ‘40s, women were much more central to movies than they are now. During the studio system women characters were as important, if not more important, than the male characters. In fact the first stars of pictures were women – Florence Lawrence and Mary Pickford. All through the ‘30s women got top billing in comedies. It’s Katherine Hepburn and then Cary Grant in Holiday. That changed in the ‘50s and then it was gone by the ‘60s. One of the things that’s wrong with today’s pictures is there are too many guys and not enough girls. There were more female screenwriters then, too, than there are now.”

Peter Bogdanovich
director, She’s Funny That Way



If there were any question marks still floating over Cary Fukunaga’s credentials, his latest film, Beasts of No Nation, should flick them aside with ease. Based on the acclaimed novel by American writer Uzodinma Iweala and boasting staggering performances from both of its lead players, Abraham Attah and Idris Elba, Fukunaga has delivered one of the most viscerally stylized war films in recent memory. The Africa-set drama is a relentlessly violent, vibrant, and electric film that is at once as druggy and entrancing as Coppola’s 1979 cut of Apocalypse Now and as sonically inventive as Elem Klimov’s Come and See.

Beasts of No Nation is the fictional first-hand account of Agu (Attah), a creative, intelligent figure who, following a brutal separation from his family, ends up fighting for a squadron of child soldiers as civil war and genocide rage in the unnamed nation around them. Elba plays the group’s bewitching Commandant, a manipulative, Boko Haram-styled father figure acting as Fagin to Agu’s Oliver Twist. Under his tutelage, seduced by the lifestyle, look, and machinery of war, and fueled by revenge and the hope of reuniting with his mother, Agu slips down the rabbit hole.

Read our full review of Beasts of No Nation.

Raise your hand for a new Cooties poster. Jonathan Milott and Cary Murnion’s horror-comedy will be released on September 18 via Lionsgate Premiere. 

Elijah Wood (The Lord of the Rings), Rainn Wilson (The Office), Alison Pill (Scott Pilgrim vs. the World), Jack McBrayer (30 Rock), Leigh Whannell (Insidious), Nasim Pedrad (Saturday Night Live) and Jorge Garcia (Lost) star.

Beasts of No Nation review – Idris Elba rules in Netflix's impressive move into movies

True Detective’s Cary Fukunaga directs British star in the first competition film to screen at this year’s Venice film festival – and the first awards contender from Netflix’s new cinema division

Director Cary Fukunaga has handled projects as diverse as the migrant drama Sin Nombre, a Jane Eyre adaptation with Mia Wasikowska and Michael Fassbender, and episodes of TV’s True Detective. This film, premiering at the Venice film festival, is his best film yet.

Fukunaga brings flair, muscular storytelling, directness and a persuasively epic sweep to this brutal, heartrending movie about child soldiers and a civil war in an imaginary West African country, based on the 2005 novel by Nigerian-American author Uzodinma Iweala.

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The Purple Shirt

“The Purple Shirt" is based on the iconic wallpaper seen as a backdrop in the BBC series “Sherlock”, which is based on Sir Arthur Conan Doyle’s characters.

The damask design is one of floral and geometric elements. The weave is satin, the same as our Double Helix wraps. It is densely woven, which proves to be sturdy and provides strong support, and is very soft even in the loomstate. It will only get softer, cushier and more blankety with a wash, iron and use. The wrap is very easy to care for. The dense yet soft satin weave is perfect from infancy to toddlerhood.

It is no mystery that The Purple Shirt is a perfect wrap for beginners and experienced wrappers alike. The Purple Shirt is woven on a natural cotton warp and purple Tencel weft.

Tencel is an eco-fabric made from the natural cellulose found in wood pulp. The fiber is economical in its use of energy and natural resources, and is fully biodegradable and is also anti-bacterial. After the first wash, the fabric becomes incredibly fluid and drapy and blankety soft. Perfectly suited for infants but great for toddlers as well.

Size 2- $160
Size 3- $165
Size 4- $170
Size 5- $175
Size 6- $180
Size 7- $185

Weight is around 286g/m2

The Purple Shirt will be listed on our website Wednesday June 3rd at 10:30am EST.

The game, Ms. Hudson, is on!

Wajah saja berbeda mengapa kepintaran harus sama?
Yang harus kita garis bawahi dari pernyataan di atas adalah kepintaran.
Yang menjadi pembahasan adalah kepintaran anak yang berbeda-beda.

Jelas setiap anak berbeda kepintarannya. A pintar dalam hal musik, belum tentu B memiliki kepintaran yang sama. B mungkin saja lebih pintar dalam hal bahasa atau linguistik. Lebih senang berceloteh dan bercerita apa saja.
Yang harus kita cari adalah kepintaran anak seperti apa yang lebih condong padanya. Lalu berikan stimulasi terbaik sesuai kepintarannya agar anak berkembang secara optimal dan membuatnya menjadi yang terbaik sesuai dengan kepintarannya.
Bukan begitu Mba @zaskiadyamecca? :)
#BedaAnakBedaPintar #Annytayangsudahsiappunyaanak #Nikahduluoi!

'Beasts of No Nation': Venice Review

Netflix’s first original feature film, directed by Cary Joji Fukunaga, stars Idris Elba as a warlord who recruits an army of child soldiers in an unspecified African country.        

One of the many horrors of the modern world, that of child soldiers being coerced into violent combat roles by African warlords, is compellingly and convincingly dramatized in Cary Joji Fukunaga’s Beasts of No Nation. The writer-director-cinematographer’s two previous features also dealt with brutalizing rites of passage suffered by young people — Central Americans making their way through Mexico to the U.S. border in Sin Nombre, a 19th century English orphan girl’s harsh life in Jane Eyre — but Beasts rates as the most disturbing of the three because of the way the pre-pubescent boy at its center is forced to become a ruthless killer. After its trifecta debut at the Venice, Telluride and Toronto film festivals, Netflix’s first original feature film will bow theatrically in Landmark theaters in the U.S. via the independent distributor Bleecker Street on October 16, the same day it debuts world-wide on Netflix.

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Cari bei ragazzi;
potreste cortesemente smetterla di essere:
- Gay
- 10 anni più piccoli di me
- 10 anni più grandi di me
- fidanzati
- preti o monaci di clausura
- lontani 1000 km se non più dalla sottoscritta
- non reali?

cordiali saluti.

Cary Fukunaga Offers New Details on Why ‘It’ Remake Fell Apart

For a cover story this week on “Beasts of No Nation,” Cary Fukunaga explained to Variety why he bailed this summer on New Line’s horror movie remake of Stephen King’s “It.” Fukunaga had already written a script with Chase Palmer on the project, which he first boarded in 2012 (it started at Warner Bros. before it was moved to New Line). The studio is now looking to hire a new director with a fresh script.

Fukunaga had planned on making “It” into two films. Although early reports indicated that the director left over budgetary concerns, Fukunaga maintained that wasn’t the case. Both sides had agreed on making the two films for $32 million, according to the director. But Fukunaga said he had bigger disagreements with New Line over the direction of the story. A rep from New Line didn’t respond to a request for a comment. Here’s Fukunaga’s explanation:

Fukunaga: “I was trying to make an unconventional horror film. It didn’t fit into the algorithm of what they knew they could spend and make money back on based on not offending their standard genre audience. Our budget was perfectly fine. We were always hovering at the $32 million mark, which was their budget. It was the creative that we were really battling. It was two movies. They didn’t care about that. In the first movie, what I was trying to do was an elevated horror film with actual characters. They didn’t want any characters. They wanted archetypes and scares. I wrote the script. They wanted me to make a much more inoffensive, conventional script. But I don’t think you can do proper Stephen King and make it inoffensive.

“The main difference was making Pennywise more than just the clown. After 30 years of villains that could read the emotional minds of characters and scare them, trying to find really sadistic and intelligent ways he scares children, and also the children had real lives prior to being scared. And all that character work takes time. It’s a slow build, but it’s worth it, especially by the second film. But definitely even in the first film, it pays off.

“It was being rejected. Every little thing was being rejected and asked for changes. Our conversations weren’t dramatic. It was just quietly acrimonious. We didn’t want to make the same movie. We’d already spent millions on pre-production. I certainly did not want to make a movie where I was being micro-managed all the way through production, so I couldn’t be free to actually make something good for them. I never desire to screw something up. I desire to make something as good as possible.

“We invested years and so much anecdotal storytelling in it. Chase and I both put our childhood in that story. So our biggest fear was they were going to take our script and bastardize it. So I’m actually thankful that they are going to rewrite the script. I wouldn’t want them to stealing our childhood memories and using that. I mean, I’m not sure if the fans would have liked what I would had done. I was honoring King’s spirit of it, but I needed to update it. King saw an earlier draft and liked it.”

Related storiesHow Netflix’s ‘Beasts of No Nation’ Could Change the Movie BusinessCary Fukunaga Weighs in On 'True Detective’ Season 2Locarno: Edward Norton on Honoring Cinema and Embracing New Technologies

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