movie essay

Anyway, the real villain of Fantastic Beasts and Where to Find Them was the government and no one can convince me otherwise. MACUSA:

  • fails to notice the Director of Magical Security and head of Magical Law Enforcement has been replaced by an international magical terrorist for several weeks at least, even though he is in constant contact with the highest ranking MACUSA officials, including President Picquery, even though he’s probably only using Polyjuice potion to achieve this, therefore having to be constantly doing out of character things, like drinking hourly from a hip flask while working, probably, and sentencing people to death without trials
  • fails to do anything, at least on screen, or exhibit any care that their Direct of Magical Security and head of Magical Law Enforcement is probably being Barty Crouched somewhere, with hair ripped out of his head and imperiused so that he can be imitated effectively, since for a replacement scheme to work, he needs to be alive, á la Goblet of Fire
  • stripped a competent auror of her position because she defended a magical child from abuse. They don’t know Credence is an obscurial, but he apparently stands out instantly as being from magical lineage, i.e. seeming to be a squib, meaning he isn’t a muggle/no-maj and therefore even with their effed up no-maj relation laws they could and should be protecting him and giving him a place in society. Also, Mary Lou Barebone is abusing all the children she’s adopted, and MACUSA knows and instead of helping, you know, protecting god damn orphan children, they demoted the one witch with any god damn integrity.
  • are actually protecting the Second Salemers, i.e. the people calling for witches to be burned at the stake again, which kind of threatens the statute of secrecy doesn’t it? Since people as high ranking as a presidential candidate’s brother believe them and their voices are being heard. But no, since an auror attempted to stop the abuse of a child, they are allowing these no-maj’s (and non-no-maj’s, since both Credence and Modesty at least seem to have some powers) threaten the international statute of secrecy. This at the same time as protecting the statute with stupid, small things like beast extermination and not allowing no-majs and wizards/witches to be friends or lovers, which is horrific. As other people have pointed out, what does this mean for no-maj/muggle born witches and wizards? Nonsense. But PIcquery is fine for wizards and witches to get drunk during prohibition, sure.
  • President Picquery refuses to listen to a competent ex-auror, who appears in front of her with a culprit already in custody, she does not even allow an explanation. Picquery later gets angry at Porpentina for not telling her what had happened sooner, when TIna appears in front of her with the same man and the same (looking) case. Yes, because that’s logical. Picquery is just in general a terrible leader and a terrible human being, which I’ve talked about before.
  • In a room with every magical world leader, none of them are willing to look at the evidence, or listen to the professional in the field, and admit that it is possible that magical children might be being abused to the point of becoming obscurials, even though, in at least America, they can’t keeps tabs on every magical child because they have no way to check on no-maj-born kids because of their effed up laws, and they refuse to help the no-maj-born kids they do know about, i.e. the Second Salemers. All these government leaders are so determined to not be wrong/scapegoat a beast that they put countless people’s lives in danger, including those of children. “There hasn’t been an obscurial in centuries.” “I literally saw one three months ago what the hell are you talking about!?”
  • actually behave worse than the darkest wizard who ever lived, at that point in history. They’re at least as bad as him, if in different ways. Graves/Grindelwald listens to people when they obviously have information, no matter their position. Is Grindelwald a monster? Heck yes, he manipulates and abuses a child (I’m counting Credence as a child, ok, he’s probably in his late teens, but considering he doesn’t seem to be able to escape his mother, even legally, I’d put him at 17, i.e. not an adult), he has killed and attacked countless people, he’s partially responsible for Ariana Dumbledore’s death, he wants to use an abused and tormented child for his own gain, he sentences Newt and Tina to death, he’s a horrible person and I’m not on his side, but neither am I on the side of MACUSA. Grindelwald doesn’t strike me as another Voldemort, i.e. pure evil, he seems more he like he knows exactly how to manipulate the discontent and downtrodden, and he wouldn’t gain this support for “the greater good” if the government weren’t failing so many wizards and witches already.
  • has a torture death chamber that they can apparently send people to without trial, which is just as bad as Azkaban. I don’t even need to go into why this is so horrible. Even if you support the death penalty (which I sure as hell don’t), you can’t support the chamber of showing you your worst and best memories as you slowly sink into a burning acidic fiery death pool. That’s inhuman.
  • also, despite a magizoologist, a competent ex-auror and ministry employee, and the Director of Magical Security and head of Magical Law Enforcement telling them not to do it, and showing that they knew how to help Credence, MACUSA still executed a child on President Picquery’s orders, and there are no repercussions for that. This is not even a mercy killing, because Credence has already proved that when treated with compassion, he is skilled enough to survive and prosper, even as an obscurial. (Is it possible he survived? Considering what Hayes has said and that little whisp at the end, yes, but that doesn’t change the fact that MACUSA tried to kill him.)
  • they were also entirely willing to let Newt try his Thunderbird Swooping Evil venom plan, even though Newt has only theorized about this, and never actually attempted it, and they have no idea what the side effects could be. To save themselves, they released an untested substance into New York’s water supply, and the water cycle in general, with no idea of how it would work. What memories will actually be lost? Will it be effective? What adverse effects might there be? How will wizards be immune, when it’s in the water supply? This was a bad plan, and MACUSA risked a lot letting it go forward.
  • Picquery at the end is just a bad leader. “We owe you everything- gtfo.” “We owe you a debt- obliviate your friend who had a massive hand in saving our necks and many, many lives.” “I just said it was ok to kill a child- do what I say.” She is a very, very bad leader, who canonically cares more about letting wizards drink than she does about the lives of no-majs, no-maj born and squib kids, children suffering abuse, her Director of Magical Security and head of Magical Law Enforcement probably being locked in a box somewhere, the truth, and whether someone can be saved or not. She is just another Fudge,  but ten times worse.

TL;DR: MACUSA, President Picquery and global magical goverments as a whole are portrayed as villains in this film, and it’s very easy to imagine how Grindelwald found support when the international situation is so critical; Fantastic Beasts and Where to Find Them is a few steps away from advocating the murder of the bourgeoisie and I entirely support this reading.

PSA for writers

Recently I discovered some awesome YouTube videos about movies and screenwriting, but I think the lessons from those videos are a great resource for aspiring novelists and short fiction writers as well. So I’m going to share a few that I liked :)

1) The Darjeeling Limited: How Brother’s Communicate

2) Let’s Discuss Horror

3) Andrei Tarkovsky - Poetic Harmony

4) Opening Shots Tell Us Everything (I think this would be super useful for writers to understand how to write opening scenes in their stories.)

5) Dialogue in Film: How Should Characters Talk? and The Social Network - Designing Dialogue (These are REALLY good for dialogue, definitely my favourites.)

  • Baby: f-f
  • Father: Oh my god, he's gonna say father!!
  • Baby: f-f
  • Father: Come on son, let it out
  • Baby: f-finnick odair is such an underappreciated character who won the hunger games at age 14 was prostituted at age 16 and on top of that he couldn't be with the woman he loved and was reaped for a quarter quell with a woman who was like a mother to him and his friendship with katniss was truly important because he is truly the only one who can understand what she was going through they both felt like they had let down their loved ones down and honestly I hate that the movies cut down so much of their friendship and I hate in general how little we get of finnick odair in general like he deserves better and we deserve better and he's such a kind and selfless soul despite all that he's been through like he literally sacrificed his life for the rebellion so millions of people could be saved and the fact that he went though hell and back just to protect annie is so like he loves her so much and the level of love and intimacy the two share in their relationship is unreal and I'm forever disappointed that we didn't get a lot more of them in the movies because their relationship is so unlike any other relationship I've ever seen and the fact that he didn't even get to see his son or even find out that he was gonna be a father and he didn't get his happy ending with annie which is all he ever wanted and he deserved the freaking world and finnick odair is just really underrated, you feel me?
  • Father: ...

Here’s my first video essay. It’s focuses on the language used in Inglourious Basterds

I’d love to know how Lito and Hernando first met, before their first date.

I imagine them both seated at a table alone at a cafe, Lito reading a script for an audition or a movie and Hernando correcting essays from his students. Lito notices Hernando of course and can’t keep his eyes off of this very handsome man and every now and then, Hernando catches his eye and smiles, while Lito looks away, pretending he wasn’t staring.

Eventually, Hernando gathers his stuff, stands up, and approaches Lito’s table.

“Mr Rodriguez?” he says, because of course he recognized Lito.

Lito is suddenly both embarrassed and shy and he scratches his head, a nervous habit, while answering: “Hum, yeah?” He tries not to look directly at Hernando’s eyes but he sees the man smile.

“Do you mind if I join in?”

Lito hesitates for a second. He’s definitely embarrassed now – does the man know? He knows. You gotta be careful, Lito, you idiot, think about your career – but the man’s smile is warm and tender, it feels comforting so he nods. “No, no, hum, not at all, please have a seat.”

“Thank you”, Hernando says. Then, presenting his hand. “My name is Hernando Fuentes.”

Lito shakes his hand, hoping Hernando won’t notice how sweaty his hand is. “And you already know my name, apparently.”

Hernando laughs gently and oh god, it makes Lito’s heart jump. “I do. I have seen The Killing Machine.”

Lito laughs too, more nervously. “Yeah… not my best role.”

“It definitely wasn’t your best movie”, Hernando corrects. “But your prestation made it tolerable. You brought some depth to a rather flat character, making him, the killing machine, almost human. Almost vulnerable.”

Lito is moved and a bit more comfortable. “Thank you. I… actually had made a whole background story for Alejandro but the director wouldn’t agree with it.”

“Shame. Can I ask what you had in mind?”

So Lito tells him. And Hernando nods, asks questions Lito wouldn’t have asked himself and after half an hour of studying every aspects of Alejandro’s life and personality, he feels like this character is a part of him.

“Now it feels like a good movie”, Lito laughs, more naturally this time.

Then Lito asks about what Hernando does for a living and they talk for another half an hour about art until Hernando says he has to go give his lecture. Lito is disappointed but he’s good at hiding his true feelings so he says. “Well, it was a pleasure meeting you. Have a good day.”

But he didn’t expect Hernando to say: “It really was. Would you like to go out sometimes?”

Lito’s shocked, embarrassed, has a little nervous laugh “hum, yeah”, scratches his head, “yeah why not, hum”, takes a sip of his coffee “go out like hum” and he finally asks it because it has to be clear: “like a date?”

Hernando’s smile is affectionate again. “If you wish it to be.”

That’s when Lito finally allows himself to look directly at Hernando’s eyes. He suddenly feels both shy and stronger and for once he finally tells the truth: “I’d love that”, he says.  

i feel like the fundamental ideological divide they’re using for civil war is that steve is reacting to the winter soldier while tony is reacting to age of ultron

steve is afraid of being controlled, of being forced to take action or inaction even when his own moral code disagrees, or when he’s not given all the information (this ties a lot into bucky’s arc but that’s a whole other post)

tony is afraid of himself, of what he could do or who he could become without something restraining him, of being the merchant of death with no accountability all over again

steve does what he does because he’s certain that what he’s doing is right; tony does what he does because he doesn’t trust himself to make that call anymore


Hands on Mind | An Xavier Dolan Video Essay

I made this for a film class. 


By Kevin Mora-Rosenkranz

The film I decided to get inspired for my upcoming movie poster project is the 1973 version of “The Crazies”. This science fiction, horror movie is about a biological weapon accidentally released to innocent people.
The reason why I chose this film is because, first of all horror movies are my favourite genre and because of the outfit, I think the props are easy to get (gas mask and white suit).
As you can see movie posters usually use photographs with space to allocate writing on it, most of them are composed by the title and information of who’s starring, some of them the director and producers are also included. The majority of films posters also offer the date of when is it going to be released, or just “coming soon”. Movie posters can be very diverse, there’s not an specific rule on what to include on it, that’s the difficult part, deciding what to add on the movie poster without compromising the picture. Also small details like reviews of famous film critics and maybe an award winning or nomination, can also be included.

  • me: I'm bored
  • me: *has 1234567890 list of activities, homeworks, and projects all due tomorrow*

The Superlatively Superfluous Adventures of Legolas and Tauriel

Dateline: Dale (3/40)



100% natural: unsurprisingly inan is a pale awkward ghost bab. her hair is super long from poor management and just…..Fucked. the #1 person who shouldn’t have long hair. yes that’s not eyeshadow that’s her fucking dark circles bc for a dreamer mage this little shit doESN’T SLEEP.

missions: the standard hair i draw her in. just a braided mess. you also get to see the extent of her make up skills (kohl 2 cut down on glare) and how fucking ruddy she gets. Living Disaster. 

skyhold: as lazy as she can manage while not sacrificing the inquistion’s reputation.

halamshiral: god shE LOOKS TOTALLY DIFFERENT, truly only capable bc of the amazing work of the inquistion’s people and all her fancy friends. Literally had a spirit of grace or smthng possess her so she wouldn’t Fuck This Up. It worked sooooo. foundation kills her freckles and vallaslin which is a Sin.

pre-tres: finally at max luna lovegood. doing shockingly well to everyone’s surprise post-solas. decided to use the new free real estate for more MAGIC TATS (ironically inspired by solas’ art style bc she couldn’t think of anything past ‘eyes’ and theRE WAS A ROOM OF MURALS W/ EYES IN THEM SOOOOO)

post-tres: determined to save the boo and world. it literally takes 2 end of the world events and a wolf themed super bf for her 2 get a hair care routine. then ofc she picks a super traditional (and unpopular) dalish hairstyle. also has multiple prosthetics she built w/ dagna, hence weird strapping on arm.

under cut is bonus reality of her hair if not having 2 look good.

Keep reading

How To: Identify Major Themes in a Story.

If you struggle to understand how to find the themes and motifs in a novel or play, here are a few ways to break it down. I will be using Disney’s The Little Mermaid as my example. 

Originally posted by pain-by-zayn

1. Start by looking at the motives of the main character, and how the secondary characters support or discourage the protagonist’s goals. Ariel’s main goal is to become human and several themes stem from this. These themes include the desire to be someone else (identity crisis), the dangers of the human world (Sebastian and her father are against humans), and independence (disobeying her father, learning who to trust and not to trust).   

Originally posted by yourreactiongifs

2. Look at the background information of the protagonist. What physical and familial aspects are emphasized about your character? The Little Mermaid focuses on how Ariel is a teenager with an over protective father. Therefore, there is a strong theme of family and the theme of growing up in the story. Consider how your novel or play, focuses or doesn’t focus, on family connections, age, gender, and the culture of the story (including social class, race, and religion if applicable).   

Originally posted by gameraboy

3. Analyze the setting, it’s often a character itself too. How the story’s location is portrayed is an important motif and sets the mood of the plot. In the Little Mermaid, there is the setting of the sea, which is bright, colourful and safe. There is also the setting of land, which is new, exciting but also dangerous. These two settings are like characters in the sense that they both have depth and stereotypes made about them. The sea is familiar to Ariel but there is a dark side to it, like Ursula. The land is assumed to be totally unsafe and evil, but it has beauty and good qualities just as much as the sea.   

Originally posted by kween-ursula

4. Finally, you can look at how the story’s main conflict is expressed. How are the repeating metaphors related to the conflict. The problem could be related to nature, death, animals etc. Ariel’s conflict of wanting to be human is expressed through sacrifice, nature and youth. A main metaphor in this story is voice: the power of words, the loss of  identity, and communication both romantically and platonically.   

Originally posted by fairytale-christmas

Go check out the blogs I used gifs from! :)


The Necklace-MacGuffin Idiot Ball: the prologue C (3/20)

“All would pay homage to him.”

Not, all did pay homage to him, nor, all paid homage to him, and really not, Thranduil thought the Arkenstone was just the coolest thing ever and decided to pay Thror for the privilege of gazing upon it. (Indeed, not only does Thranduil bring nothing to this prologue meeting that could be construed as tribute, but he’s rather dismissive when he mentions the Arkenstone to Thorin.)

Also, Thror using the gems to force Thranduil’s homage is the cleanest explanation for the situation glossed over in the prologue.

It’s certainly more likely than the notion that Thranduil turned over his precious gems without an exit strategy for getting them back; that Thranduil is willing to go to war for his gems, but he’s not willing to pay for them; and that he’s willing to pay for wine, but he’s not willing to pay for the only thing that matters to him.