Best Posts in Forum: Movies and Shorts

He's definitely a cutie,and he seems like a cool dude which makes him even more attractive.

 

Well that was dark.

 

Niggas have too much time on their hands. It's always the same tired rhetoric. And they think they're being intellectual. Sit down.

 

I am sick and tired of the narrative that somehow someone WHITE has to be included in a movie for cross over ‘sales’ This movie is conveniently promoting inter-racial relationships and using it as an excuse to include white cast members. I guess its their money so they have a right to cast who they want but on the flip side it can also be seen as using black people to integrate in their otherwise All So White movie to reap the coins from the black community. This is Cultural Appropriation 101 and sadly our people are so hungry for work and don’t want to be seen as ‘uncooperative”, they fall right into the White Supremacist trap.

I am not surprised. As I said before, its their money. What would have been a No Deal for me is to know that the movie had black producers and still cast a white lead…That would have been the ultimate betrayal of our people, our culture, our ancestors and our sovereignty as a race.

 

This episode is a good one because it can help folks digest the notion of having feelings/attractions that you arent familiar with and it brings about the topic of sexual fluidity which i feel most folks try to ignore.

 

So yall just gon ignore my thread??...

 

I came across this article. I definately would like to see a gay superhero movie, but I must say, if the gay superhero is going to be a stereotypical gay with all the typical stereotypes included then I probably won't be watching it.

 

LMGDMFAO!! Chadwick does look like he's over it though.

 

Just please don't let them have another plot around the damned Death Star again.

 

*applause*

 

Its crazy, becus I remember a few years back when meth was a 'white, gay party drug', and now it's 'urban'. Sad to see the handsome young men underneath all of this 'meth face'.

 

Yeah we discussed this on The Boards before, we also discussed how he went out of his way to say he would never play a gay character for dumb ass reasons.

As handsome as Nate Parker is, he's becoming uglier the more I find out about him...

 

Dear White People
Anything By Tyler Perry
Glitter
Honey

 

What Happened, Miss Simone! My favorite in the last year. It is an amazing story. I highly recommend.

 

Well, you can better blame American Culture, because they're the one's that have infected the world overall with a negative/ undesirable view of anything non-white, therefore movies featuring non-white leads, supporting characters, and basically any black person that's not killed off within the first 30 mins are not marketable to foreign audiences. Hollywood has pigeonholed itself into a (albeit very profitable) corner, featuring majority white casts and white washing where applicable. The only ones truly offended are the American minority, because the foreign minority (for the most part) has been conditioned to accept and praise the system of exclusion, even if they themselves are the excluded.

 

As I have said before, I don't know which is worse; the white racists who didn't want to see a black male star in Star Wars or the black people calling the black star in Star Wars a coward, coon or slave.

 

REALLY? So they went from Asian man, to androgynous, to white woman. To do something "different" you cast a white woman...you know because movies don't have enough white women in them already. If you wanted to really do something different that wasn't stereotypical, how about casting an Asian woman? Fuk you Hollywood.

 

WRITTEN BY: Deondray Gossfield
DIRECTED BY: Deondray Gossfield and Quincy Lenear Gossfield

SYNOPSIS: Two childhood friends find themselves alone in the woods before a high a school graduation party. Soon, unresolved issues and old resentments ignite a forbidden blaze between them.

 

The short film SPORTS tells what happens when your thirsty fem leaning roommate wants to go play basketball with you, just so he can see the guy you’re going to play with take his shirt off.

The short is directed by Kyle Keiger and stars Zach Graves, Eduardo Sanchez-Ubanell and Cody Callahan. While I did chuckle a couple of times and found the short entertaining, I still found it ‘tropey’ that this HAD to be yet another coming out story. That’s really the only complaint because the short is well directed and I can actually hear the audio unlike some other gay short films or web-series productions. Check out the short below.

 

Yes, we’re late posting this. But support is support. Although the show had it’s final performance in Manhattan last month, here are exclusive clips from Academy Award Winning “Moonlight” screenwriter Tarell Alvin McCraney’s Broadway play, “Choir Boy.” Given the rave reviews, I’m sure we’ll be seeing a film adaptation very soon.





Synopsis:

For half a century, the Charles R. Drew Prep School for Boys has been dedicated to the education of strong, ethical black men. One talented student has been waiting for years to take his rightful place as the leader of the legendary gospel choir. But can he make his way through the hallowed halls of this institution if he sings in his own key?

Playwright Tarell Alvin McCraney is an Oscar®-winning screenwriter of Moonlight and a recipient of the MacArthur Fellowship Grant. Directing is Trip Cullman (Murder Ballad).
​

WATCH: Clips from Tarell Alvin McCraney’s Play, “Choir Boy” – Cypher Avenue

 

@Nick Delmacy do you remember when we were discussing this animated film weeks ago? I had no idea they were making a CGI version.


It’s a tale of survival, pain, and the unyielding power of hope that rings just as true now as it did almost half a century ago. The first trailer for BBC One’s Watership Down is here, boasting an A-level cast and a powerful message about doing whatever it takes to seek a better life.

Based on the novel by Richard Adams, the four-part miniseries (in the works for a few years now) stars X-Men: First Class actors James McAvoy and Nicholas Hoult as Hazel and Fiver, two brothers who lead a group of rabbits in search of a new home, or warren, after one of them gets a vision that their current one will be destroyed by humans. The group faces numerous trials along the way to finding their new warren of Watership Down, including attacks from predators and farmers...as well as a rising threat from a dystopian warren led by a totalitarian.

There’s a strong theme of holding true to one’s ideals of freedom and equality in the wake of fascism—something that feels especially important nowadays. But it also centers around a group of refugees who escape a doomed homeland in search of a better life for themselves and their loved ones. It’s a story that shows compassion for those in need, no matter where they come from, something we can all take to heart.

In addition to McAvoy and Hoult, Watership Down also stars John Boyega, Peter Capaldi, Daniel Kaluuya, Rosamund Pike, Taron Egerton, Olivia Colman, Ben Kingsley, Gemma Arterton, Tom Wilkinson, Lee Ingleby, Gemma Chan, and Daniel Rigby. The animation doesn’t look stellar, but with this series I don’t think that’s the focus. It’s really about the story. And it’s one that’s not only powerful and poignant, but relevant.

Watership Down debuts on BBC One from December 22 to 23, and will be released on Netflix December 23.




https://io9.gizmodo.com/james-mcavoy-leads-a-star-studded-rabbit-rebellion-in-t-1830847373

 

This past September, Bloody Disgusting exclusively broke the news that Jordan Peele‘s Monkeypaw Productions would be producing a remake to the Bernard Rose-directed Candyman, a chilling urban horror film adapted from Clive Barker‘s “Books of Blood” short story “The Forbidden”. This has been confirmed this afternoon with news that it is being billed as a “spiritual sequel” that returns to the neighborhood where the legend began: the now-gentrified section of Chicago where the Cabrini-Green housing projects once stood.

“Urban” had a dual meaning in that the original adaptation was moved from England to the now demolished Cabrini–Green public housing development in Chicago, while the antagonist is an urban legend in himself, the Candyman (played by Tony Todd), an artist and son of a slave who had his hand severed and was then murdered (with bees, of course) by his lover’s father. Released in 1992, the film spawned two sequels, the latter being direct-to-video.

While lesser known among the horror icons, Candyman is easily one of the scariest; he can be summoned by saying his name five times while facing a mirror. No word on if Todd will reprise his role.

Nia DaCosta (Little Woods) will be directing from a screenplay by Peele and Win Rosenfeld, adds Deadline.

“The original was a landmark film for black representation in the horror genre,” said Peele in the press release. “Alongside Night of the Living Dead, Candyman was a major inspiration for me as filmmaker — and to have a bold new talent like Nia at the helm of this project is truly exciting. We are honored to bring the next chapter in the Candyman canon to life and eager to provide new audiences with an entry point to Clive Barker’s legend.”

MGM will release this new film on June 12, 2020.



Jordan Peele’s ‘Candyman’ Confirmed and Set for 2020 Release!

 

Glad to see Moonlight young actors getting work.

 

Source: Lesbian film Rafiki shatters box office records in Kenya despite ban for 'promoting homosexuality'

Homosexuality is illegal in Kenya Rafiki
Lesbian film Rafiki has shattered box office records in Kenya – after a government ban was lifted for one week only.

The lesbian love story from director Wanuri Kahiu debuted to international acclaim at this year’s Cannes Film Festival, but the film was banned in its home country after state censors took exception to the “homosexual” themes.

It was permitted to screen in the country for exactly one week in September, after a court ordered it should be permitted to meet the requirements for Oscars eligibility.

Under Academy Awards rules, submissions to the Best Foreign Language Film category “must be first released in the country submitting it… and be first publicly exhibited for at least seven consecutive days in a commercial motion picture theater.”

From the first night of the film’s release on September 23, cinemas in Nairobi were surprised by an influx of fans, who queued around the block to snap up tickets and get a chance to see Rafiki. Extra screenings were rapidly added and promoted by the film’s accounts on social media, as cinemas struggled to keep up with demand.


Huge crowds outside a screening at the Goethe Institut in Nairobi (Rafiki)
The film is now again banned in the country, following the end of the seven-day exemption – but in a final humiliation for state media censors, it was revealed that the film dominated the country’s box office in the period it was released.

Rafiki was the top performing film in Kenya for the week it was unbanned, edging out major Hollywood blockbusters The Nun and Night School.


The film played to packed out crowds (Rafiki)
The film smashed has through box office records in the country, becoming the second highest-grossing Kenyan film of all time – despite the one week of screenings being restricted to over-18s.

If it had been permitted to continue its run beyond the final legal screenings on September 29, Rafikii would almost certainly have been on track to become the highest-grossing Kenyan film of all time.


The film smashed has through box office records in the country (Rafiki)
The filmmakers are pursuing further court action to have the ban lifted permanently.

In a release to PinkNews, director Wanuri Kahiu said: “Thank you so much to all of you who came out and watched the film. Thank you for celebrating Kenyan film with us! We are so grateful. As we return to court to argue for freedom of expression, we carry you with us.”

Rafiki producer Steven Markovitz said: “The success of the theatrical release proves that there is a strong commercial market for Rafiki in Kenya.


Fans queue for tickets. (Rafiki)
“We intend to take this film to other African countries to continue to build the case that quality African films are commercially viable on our own continent. The film will be re-released in Kenya, when permanently unbanned.”

Lawyer Sofia Leteipan, who is representing Kahiu in the legal challenge, said: “The ongoing case provides an opportunity for the courts to give meaning, progressively interpret and to breathe life into the Constitutional guarantee of the right to freedom of expression, that includes artistic creativity.”

The film grossed more than $33,000 in its week of release, with more than 6,500 tickets sold.

The start of the film was greeted by raucous applause at screenings, while the crowds “laughed and booed” at the logo of the Kenya Film Classification Board—the body that suppressed its release.

The re-imposed ban makes it an offence to even own a copy of the film in the country.

Homosexuality is illegal in Kenya.

 

Currently on Netflix, this is a documentary about 5 individuals who are on The Cruise, a gay men's cruise that happens every year.



While there was probably 0.5 percent of men of color on this ship, there was one man from India who was featured.

It's an interesting look at gay life from a non urban pov. 5 men at different points of life, cultures, countries, and levels of comfort sharing the experience of the cruise. It's worth 90 minutes of your time.

Here's some of my takeaways....

1. European decent gay men only have 3 dance moves.
2. People with the flatest asses always want to show them off.
3. A LOT of European decent gay men on this cruise all. Looked. The. Same. Not exactly obviously but most of these guys had the same or similar build. This is mentioned at one point in the movie.
4. It's interesting that on this planet, Gays across this earth are very similar despite our upbringing and backgrounds, we have very similar experiences and mannerisms,albeit stereotypically.

Now, there's a point in this movie where there is a sexual act recorded on camera. I wasn't surprised by that. Just that Netflix showed the action. The. Action! It was only a few seconds. Maybe because this is a documentary it's OK. I don't know. Like I would have expected the angle where you know something is happening but can't see it but you actually SEE it.

 

Get Out took the No. 1 spot at the domestic box office with $30.5 million and it only cost $4.5 million to make. BTY...this pictures are Dope

 

Sooooo, this just happened:

Indie Spirit Awards: ‘Moonlight’ Sweeps Day, Takes Best Feature – Full Winners List

A24’s Moonlight swept all five competitive awards it was up for at the 32nd annual Film Independent Spirit Awards, wrapping the day at Santa Monica’s Barker Hanger with a win for Best Feature. With Oscar frontrunner La La Land not eligible for these awards (its budget was above the Spirit Award cutoff of $20 million), it was Barry Jenkins’ drama who stole the spotlight, with Jenkins winning for Director and Screenplay in addition to wins for Cinematography and Editing.

Jenkins dedicated his Director award to “anyone who was on the call sheet for those 25 hot-ass days in Miami,” he said. The pic was also awarded the Spirits’ honorary Robert Altman Award, given to Jenkins, the cast and producers.
​

BEST FEATURE

Moonlight
Producers: Dede Gardner, Jeremy Kleiner, Adele Romanski

BEST DIRECTOR

Barry Jenkins
Moonlight

ROBERT ALTMAN AWARD
(Given to one film’s director, casting director and ensemble cast)

Moonlight
Director: Barry Jenkins
Casting Director: Yesi Ramirez
Ensemble Cast: Mahershala Ali, Patrick Decile, Naomie Harris, Alex Hibbert, André Holland, Jharrel Jerome, Janelle Monáe, Jaden Piner, Trevante Rhodes, Ashton Sanders

BEST SCREENPLAY

Moonlight
Barry Jenkins
Story By Tarell Alvin McCraney

BEST CINEMATOGRAPHY

Moonlight
James Laxton

BEST EDITING

Moonlight
Joi McMillon, Nat Sanders



Read the whole post here.

 

I wish every human being were as introspective and intelligent as these dudes. The world would be a better place for sure.

Andre Holland


Ashton Sanders




Just thought I'd post one of the best scenes in the movie.

 

By my count, Moonlight was nominated for 8 Oscars, including best supporting actor and actress, director, picture, adapted screenplay, film editing, original score, and cinematography.

 

Watching videos like these really show how privileged I am, but never notice it. Granted there is still a level of Freedom I strive for, however its very humbling to see people still keep pushing on despite such hard conditions. They do really inspire me and they might not know it, but this is how change comes. Little by little their visibility makes others aware and discussions begin.

 

I recall reading a blog or article about a similar reaction to the gay character in Dear White People involving a larger portion of the audience.

LINK: The Sad, Surreal Experience of Seeing an Audience Laugh at Moonlight

The Sad, Surreal Experience of Seeing an Audience Laugh at Moonlight
By E. Alex Jung



Barry Jenkins’s remarkable coming-of-age film, again. It was a Friday night at BAM, and the screening was completely sold out. Early on, though, one scene made me realize I might have picked a bad audience: It’s in the first third of the movie, where our young hero Chiron is sitting at the dining table with this surrogate parents, Juan and Teresa (Mahershala Ali and Janelle Monáe). He asks them, point-blank, “What’s a faggot?” It’s a moment that feels like a gut punch. When I first saw it, I held my breath, waiting to hear what Juan would say. He explained that it was a negative word used to describe men who liked other men. Then came the next question, “Am I a faggot?” A group of women behind me started giggling at the first question and were full-on laughing by the second — so much so that they drowned out Juan’s response. I was perplexed: Were we watching the same movie?

In the darkness of a theater, no one can see you side-eye. And perhaps emboldened, the laughter only got worse as the film went on. There was a noticeable pattern: Every time there was any expression of gay male intimacy, they laughed. They tittered during the scene where teen Chiron has his first sexual experience on a beach, and they let out wolf whistles when we first meet adult Chiron, shirtless and muscular. (Although to be fair, I thought something similar in my head). And while we got to the film’s emotional climax, the diner scene between Chiron and his grown-up crush Kevin, it was like they were a studio audience watching a sitcom.

The first time I watched Moonlight was at a press screening. As is often the case, there weren’t that many people in the theater, and I was sitting with a couple of friends. It felt like a private experience, the perfect environment to see a movie like this. That first time, I loved the diner scene. It’s sexy — flirtatious and a little tense. The specter of all those years gone by hangs in the silences between the two men. I remember nervously waiting for Kevin to recognize Chiron, and when he did, something came loose inside of me, and I just started crying. I understood it as that moment of being seen by someone else for the first time, and what an electric, disorienting feeling that could be. Indeed, that’s how Jenkins shoots it: The audio doesn’t sync up with the visual for a brief second. It’s like the world is collapsing in on itself.

I was nervously anticipating this scene in the theaters the second time, but I couldn’t get into it. As Chiron imagined Kevin smoking outside the diner, there was too much laughter. The audience thought he was funny, maybe corny as hell. But for me, he was hazy and smoldering, just like a dream. As a gay man who often felt like he had to suppress his desires, I understood that fantasy acutely. And that’s when I became keenly aware that I was a gay man watching the movie around a lot of straight people. Listening to their laughter, I couldn’t help but feel that it was demeaning, a way to neuter and compartmentalize gay male intimacy as a punch line.

This isn’t to say that I think Moonlight doesn’t have its funny moments. In fact, it’s a mistake to think that because a film is about a gay black boy growing up in poverty it must necessarily be a tragedy. There’s joy, love, and humor stitched into the movie, along with alienation and hardship. In fact, there is a beat of humor in that scene where young Chiron asks Juan and Teresa about whether he might be gay: Juan starts to give a caveat, but Teresa gives him a little shake of the head: Not right now, honey. It’s charming and sweet, a moment that acknowledges young Chiron has a lot of life ahead of him.

I realize we all watch movies differently. I myself have laughed inappropriately at a number of films: I guffawed during Saw when one of the prisoners realizes that he can free himself by cutting off his own foot. (Hence the title: Saw.) I laughed when Mel Gibson tells Joaquin Phoenix, “Swing away, Merrill!” to kill the aliens in Signs. Most recently, I laughed during the climactic scene of Stonewall, when the made-up gay white protagonist “starts” the Stonewall riots and screams something about freedom like he’s in Braveheart. I too sometimes find serious things ridiculous, and it’s likely that I ruined someone else’s viewing experience with my own very loud laughing.

Sometimes, you watch a movie with exactly the right audience. Earlier this year I watched Train to Busan, a Korean zombie thriller movie at an AMC in Times Square. It was packed with young Korean students, no doubt enrolled in colleges around New York (I can spot BB cream from a mile away). Watching a summer blockbuster with a bunch of Korean kids made me feel like I was back in Seoul again. The movie was tailor-made for this audience: They screamed and jumped and whooped, and their reactions heightened the joy of an already fun movie.

Ultimately, you never know how an audience — or even you — will react to a film. Each viewer brings their own experience into the film, their own desires and expectations. But part of that experience means moments like this one in Moonlight — moments where the dissonance between audience members becomes distinct — are inevitable. I won’t be able to ever fully understand what the laughter in Moonlight meant, just that it made me uncomfortable. But it’s all fine. I’ll just try not to sit next to you again.