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submitted 3 weeks ago by Walk_On@hexbear.net to c/movies@hexbear.net

Will and Hesse talk about the 2026 Oscar race.

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submitted 5 months ago* (last edited 5 months ago) by Camden28@hexbear.net to c/movies@hexbear.net

IMPORTANT NOTE: please use a VPN whenever visiting Blorptube, or anywhere else on the internet, for that matter. Protect your privacy. You can read more about Peertube and potential security concerns here: https://hexbear.net/post/3471120?scrollToComments=false

For this week's Hairy Harmonies, both films are musical (mostly the first, as it is a concert documentary), and hairy in that neither are fantastic films on their own, but both are interesting for historical reasons. They show a particular subset of adult and youth culture a few short months after Woodstock, so they are extremely dated, but in a good way. I'd initially planned something else, but watching Cassavetes's Faces with y'all spurred me towards social commentary.

We will be using Blorptube at 5pm EST/10pm UTC sharp: https://blorp.bot.nu/o/visual_cuisine

It is recommended to use a vpn for blorptube and any peertube.

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Details

Celebration at Big Sur
Featuring Crosby, Stills, Nash and Young, Joan Baez, Joni Mitchell, John Sebastian, Dorothy Combs Morrison and The Combs Sisters, Mimi Fariña, Carol Ann Cisneros, Julie Payne, Chris Ethridge and The Struggle Mountain Resistance Band.

Celebration was held on the weekend of September 13–14, 1969, only one month after the famous and considerably larger Woodstock Music & Art Fair, which is referred to repeatedly. Celebration at Big Sur did not receive the same critical acclaim as the 1970 Woodstock film.

Co-Director/Cinematographer Wenzell Baird Bryant was well known in documentary circles for his hand-held ability to almost instantaneously capture live action as it was happening. Hired as the cameraman on Gimme Shelter, the Albert and David Maysles film of The Rolling Stones 1969 American Tour, Baird caught on camera the fatal stabbing of concertgoer Meredith Hunter by Hells Angels member Alan Passaro at the Altamont Free Concert in December 1969.

Co-Director Johanna Demetrakas followed this film up with Womanhouse, a documentary about the feminist art installation at Cal Arts. She went on direct several more films with the most recent being Feminists: What Were They Thinking? as well as working as a film editor.

Taking Off
Taking Off shared the Grand Prix Spécial du Jury ex aequo with Johnny Got His Gun at the 1971 Cannes Film Festival. Howard Jacobson of The Guardian more recently enthused about loving it for 45 years as "a good film that waits for you to grow up emotionally", showing not only "the older generation’s anger and confusion" but also "the sweet cruelty of being young". It includes two future artists in brief appearances: Kathy Bates (listed as Bobo Bates in the credits) and Carly Simon, both as auditioning singers (note that Bates had already appeared in a soap opera, and Simon was singing professionally with various groups at this point, but had yet to get her own recording contract at the time of filming). Also look for Vincent Schiavelli, Ultra Violet, and Paul Benedict (Jeffersons, Seasame Street).

Content Warnings:

Celebration at Big Sur:
(listed but not reviewed for content on both imdb and dogdies):
from memory: cops and nude hippies

Taking Off:
Sex & Nudity: Moderate
Violence & Gore: None
Profanity: Moderate
Alcohol, Drugs & Smoking: Severe (?)
Frightening & Intense Scenes: None
(listed but not reviewed for content on dogdies).

Track listings for each film:

Celebration at Big Sur

  • "I Shall Be Released" – Joan Baez
  • "Mobile Line" – John Sebastian with Stephen Stills
    • offstage
  • "Song for David" – Joan Baez
    • shown rehearsing offstage, with stage performance of same song cut in
  • "All of God's Children Got Soul" – Dorothy Combs Morrison and the Combs Sisters
  • "Sea of Madness" – CSNY
  • "4 + 20" – Stephen Stills solo performance
    • Stephen Stills introduces this number discussing his interaction with a heckler in the previous scene
  • "Get Together" – Joni Mitchell with Crosby, Stills & Nash and John Sebastian
  • "Put a Little Love in Your Heart" – Dorothy Combs Morrison and the Combs Sisters
    • incomplete: non-musical footage of nude sauna, audience happenings
  • "Swing Down Sweet Chariot" – various (offstage, incomplete)
  • "Rainbows All Over Yours Blues" – John Sebastian
  • "Woodstock" – Joni Mitchell (playing piano)
    • non-musical footage of self-identified "freak" with Woodstock-themed bus
  • "Red-Eye Express" – John Sebastian with Stephen Stills
  • "Changes" – Mimi Fariña and Julie Payne with Stephen Stills (incomplete)
  • "Malagueña Salerosa" – Carol Ann Cisneros
  • "Rise, Shine, and Give God the Glory" – The Struggle Mountain Resistance Band (incomplete)
  • "Down By the River" – CSNY
    • incomplete, over 7 minutes
    • folk musician improvising outside the festival
  • "Sweet Sir Galahad" – Joan Baez
  • "Oh Happy Day" – Dorothy Combs Morrison and the Combs Sisters with Joan Baez
    • opens with Joan Baez rehearsing same number with Dorothy Combs Morrison

Taking Off (listing from movie's soundtrack):

  • "Taking off (I Believe in Love)" (Nina Hart) – 2:17
  • "Fields of Green and Gold" – 1:40
  • "Let's Get a Little Sentimental/Sosaloosa" (Mike Leander/Eddie Seago) – 2:22
  • "And Even the Horses Had Wings" (Kathy "Bobo" Bates) – 3:39
  • "Long Term Physical Effects" (Carly Simon/ Tim Sauders) – 1:54
  • "Ode to a Screw" sung by Mary(Jenifer)Mitchell (Tom Eyen/ Peter Cornell) – 1:35
  • "Stabat Mater Opus 58" – 2:54
  • "Lessons in Love" (Catherine Heriza) – 2:35
  • "Nocturne" – 2:38
  • "Goodbye, So Long" (Tina Turner/Ike Turner) – 3:07
  • "Air" (Performed by The Incredible String Band, Composed by Mike Heron) – 3:10
  • "He's Got the Whole World in His Hands" – 1:50
  • "Stranger in Paradise" – :49
  • "Feeling Sort of Nice" (Shellen Lubin) – 1:59

Letterboxd:

https://letterboxd.com/film/celebration-at-big-sur/ https://letterboxd.com/film/taking-off/

Links to films:

Celebration at Big Sur (1969) 1:22:29
https://tankie.tube/w/cNssMypSGHQDNYjBnWCDEd

Einheitsfrontlied (1934) 0:03:26
https://tankie.tube/w/12rwbz9coPzPkWG5DoSQWJ

Taking Off (1971) 1:32:30
https://tankie.tube/w/gSeoNFzi3y7Xsn9ye8Jb7j

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submitted 5 months ago by Walk_On@hexbear.net to c/movies@hexbear.net

Will and Hesse discuss the interesting pairing of James Whale’s The Bride of Frankenstein (1935) and Robert Hiltzik’s Sleepaway Camp (1983). What connection do these two films have? You’ll have to listen to the episode to find out.

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submitted 7 months ago by wombat@hexbear.net to c/movies@hexbear.net

IMPORTANT NOTE: please use a VPN whenever visiting Blorptube, or anywhere else on the internet, for that matter. Protect your privacy.

For this Sunday Kino Night, first up is The Day of the Jackal (1973), based on Frederick Forsyth’s 1971 political thriller novel of the same name. It is a Hollywood take on the attempt of a cabal of French generals to assassinate president Charles de Gaulle in 1962, as they blame him for France’s loss of Algeria. Director is Fred Zinneman, the guy behind such hits as High Noon (1952) and From Here to Eternity (1953); surprisingly, we have never watched any of his films on the ‘tube. That changes tonight, as this is considered one of his best works.

After that is Songs from the Second Floor (2000), a Swedish satirical, surrealist black comedy that follows a group of eccentric Swedes as their town comes to a standstill during a gigantic traffic jam. Strange and sometimes fantastical vignettes ensue. Director is Roy Andersson, whose similar You, the Living (2007) we previously watched. This is one of the highest-rated Swedish films on Letterboxd, so let’s check it out.

We’ll start at 8PM EST on Blorptube, right here:

https://blorp.bot.nu/o/visual_cuisine

Be there, comrades!

Letterboxd:

Doesthedogdie.com links:

CWs for Day of the Jackal:

  • Nudity.
  • Gun violence.
  • Blood and gore.
  • Profanity.
  • Alcohol.
  • Smoking.
  • Torture.

CWs for Songs from the Second Floor:

  • Nudity.
  • Sex.
  • Blood and gore.
  • Dismemberment.
  • Cutting of flesh.
  • Alcohol.
  • Smoking.

Links to movies:

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submitted 7 months ago* (last edited 7 months ago) by Lemmygradwontallowme@hexbear.net to c/movies@hexbear.net

IMPORTANT NOTE: please use a VPN whenever visiting Blorptube, or anywhere else on the internet, for that matter. Protect your privacy.

For this Sunday's Suspense Lagniappe, we have Uncut Gems (2019), a crime thriller film[5] about a Jeweler named Howard Ratner in New York City's Diamond District, who must retrieve an African gem in order to pay off his debts, which are in part caused by his impulsive gambling. As the movie goes by, this descends into 2 hours of unrelenting stress as he struggles with the high stakes, and perhaps burns too many bridges along the way. If you wanna see actor Adam Sandler in a more serious role, this is the one for you. Directed and written by brothers Josh and Benny Safdie, as of now, this is the most recent duo project done by them, before their directoral split-up.

We’ll start at 5:30 PM EST on Blorptube, right here: https://blorp.bot.nu/o/visual_cuisine

Be there, comrades!

Letterboxd: https://letterboxd.com/film/uncut-gems/

Doesthedogdie.com links: https://www.doesthedogdie.com/media/22093

CWs for:

Sex And Nudity: Moderate

Sexual references, implied sex, kissing and brief sexting.

A woman sends her boyfriend a picture of herself in skimpy lingerie while sexting. The picture is shown in close up and her pubic hairs are visible through the underwear. The lingerie shows cleavage and she's wearing a thong so most of her buttocks are visible.

A woman unzips her skirt to reveal a tattoo of a man's name on her butt cheek. Her butt is seen in closeup.

A man is seen laying with two women in his bed who is he is kissing. A man and a woman begin kissing, then they begin to undress and lay down on a couch. Sex is heavily implied.

Not a lot of sexual stuff is seen on camera, but the dirty and vulgar nature of the film along with some of the sexual references make up this category to pretty relevant.

Sexual references.

In the background, a painting of three naked ladies can be seen, not graphic at all. After, there's a naked lady on the television, it's not focused on but you can see the outline of her breasts.

There are a lot of sexual references.


Violence And Gore: Moderate

A man gets punched in the throat, and is later hit in the nose and thrown into a fountain. Some bloody tissues are shown in the next scene as his girlfriend cleans him up.

A young man is carried out of a mine with a heavily bleeding leg injury. His bones are briefly exposed. Someone pours alcohol on the injury to cleanse it.

A man starts two fights in a nightclub, and several people are punched and manhandled.

Two men gang up on a another man, ripping his shirt and knocking him to the ground.

A man starts a fight at his daughter's school, biting one of his opponents and leaving a mark before being forcefully stripped naked and thrown into the trunk of a car.

A man is clubbed in the back as he runs away. We see a large mark later.

A man is held out of a window and threatened to be dropped. A man has a colonoscopy at the beginning of the film we see footage of his colon on a screen and it is mentioned they found a polyp.

There isn't a lot of violence, but the extreme intensity throughout the film is enough to warrant turning it off for some viewers. One scene of graphic violence and numerous fights and altercations with bruising and injury.


Profanity: Severe

"Fuck" is said excessively throughout with the word being said a total of 560 times. Regularly used as part of normal conversation or in scenes full of arguing or yelling. More than half of its usage comes from Adam Sandler's character.

Many other obscenities throughout including: "cock*****", "{word for prostitute}", "shit", "{english word for konyo}", "{n-word}" and "asshole".

This film (2 hours long) has some of the most extreme and perverse language of all time with it being more frequent than The Wolf of Wall Street (a 3 hour film).

646 swear words in total.

Cum was used. Blasphemy is used throughout the movie and in very serious forms as per example Je*** fuckg Ch*


Alcohol, Drugs And Smoking: Moderate

One scene where people are seen snorting cocaine in a bathroom. This is the only part where drugs are used. Some drinking, mostly in social settings along with brief smoking.


Frightening And Intense Scenes: Severe

Howard is constantly harassed by a gang of vicious loan sharks who beat him up and steal from him.

This film as a whole is EXTREMELY intense, stressful and anxiety-inducing, with overwhelming elements of tension such as people constantly shouting over each other, constant loud music, claustrophobic scenarios, and sudden violence.

The scene that takes place in the night club is very claustrophobic. Howard and The Weeknd get into a fight, this part is very tense to watch with all of the loud music in the background and indistinct shouting.

One of the most claustrophobic scenes in the movie is when Howard is clubbed and thrown into an SUV where he is constantly manhandled and has his clothes taken off by a gang of loan sharks and thrown into the trunk of a car.

The scene where Howard tries to get the door open while KG and his friends are stuck in a tight space is extremely tense. The constant yelling and buzzing is incredibly anxious.


Tankie.tube sources: https://tankie.tube/w/humYaumuSqrDNpALMSRfBp

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submitted 1 year ago* (last edited 1 year ago) by Grebgreb@hexbear.net to c/movies@hexbear.net

Please donate if you are able to: https://hexbear.net/post/4369314

@@@@This comes from above: it's strongly recommended to use a VPN for cytube. @@@@ There was a thread recently about vpns and a few you should explicitly avoid.

Something is going on with the domain name for hexbear and its cytube instance, if it isn't resolved by tonight we can try watching Yuki/something else somewhere if users want - we have a matrix room setup where we can talk about it: if you're interested you can message me or Wombat your matrix username and we can invite you.

You can read more about Peertube and potential security concerns here: https://hexbear.net/post/3471120?scrollToComments=false

The visual cuisine for tonight will be the last episodes of the Yuki anime. It anime takes place in the alternate reality briefly shown in Disappearance of Haruhi where Yuki is just a shy bookworm.

8 pm est

content warnings

Disappearance of Yuki

  • Slapstick violence.
  • Anxiety attacks.
  • Unstable reality.
  • Objectification of female characters.
  • Sexual harassment of schoolgirls.
  • Child abuse.
  • Bugs.
  • Ghosts.
  • Blood and gore.
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submitted 1 year ago by Walk_On@hexbear.net to c/movies@hexbear.net

Will and Hesse look at two films directed by Nicolas Roeg: Eureka (1983) and Insignificance (1985).

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submitted 2 years ago by Walk_On@hexbear.net to c/movies@hexbear.net
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I can’t wait to watch an extremely legally acquired version with comrades to revel in the trashheap

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Movie piracy is one of those debates all across Hollywood. With everything being digital now, files for every movie coming out this year all exist somewhere in the cloud. And if you get a motivated hacker, it feels like nothing is safe.

Enter The Legend of Aang: The Last Airbender, which appears to have been hacked off the Nickelodeon and Paramount servers. Or leaked, depending on who you believe on various torrent and social media websites.

This movie was slated to come out on October 9th, maybe in theaters, maybe on Paramount+, and while we can't verify if it's 100% real, links ot it have been taken down due to copyright claims, so that feels like an affirmation without admission.

While the news of the Avatar Aang leak is a blow to the production team, it serves as a massive case study for the industry on the fragility of digital security.

Is any movie safe?

Let's dive in.

What Happened with Avatar?

Over the weekend, a full-length copy of Avatar Aang: The Last Airbender surfaced online. As it spread over social media and then sites like 4Chan,

The film was slated for an October 9 release on Paramount+, but it is now being distributed via vanishing links and torrent sites.

The source of the leak remains a point of contention. While some reports point to a coordinated hack of Nickelodeon’s servers, the initial leaker claimed the file was "accidentally emailed" to them.

But now, years of work by hundreds of artists have been compromised before the marketing machine could even release a trailer. Why This is an Industry Nightmare

No one wants the conversation around their movie to be led by hackers who got it with ill intent, even if those hackers might be "fans."

No one wants their movie press guided by people who have seen the movie chiming in on what they liked, didn't, and all sorts of stuff that, in the nine months leading up to the release. They are effectively bombing its theatrical play, and maybe even bombing marketing, and possibly even recuts of the movie.

This creates a vacuum where the studio loses control of the narrative. Instead of a polished trailer setting the tone, the first impression for many will be a low-bitrate, unauthorized upload.

And again, the people who may have paid to see it are now fewer.

Summing It All Up

Paramount is currently playing a game of "whack-a-mole," issuing copyright takedowns as fast as new links appear. And the people behind the movie have to suffer with no way to put Pandora back in the box.

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submitted 2 days ago by MF_COOM@hexbear.net to c/movies@hexbear.net
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submitted 2 days ago* (last edited 2 days ago) by Legendsofanus@lemmy.ml to c/movies@hexbear.net

More sensual than narrative, A Ghost Story tells or shows the visual experience of being left behind. The plot is about a couple living happily in their home when suddenly the husband dies and comes back as a ghost. Despite the film's initial setup, the movie isn't about the wife struggling to live with the death of her husband but it's about the Ghost Husband trying to connect to her in some way. And that's where things get really cool

It's a fairly slow, calm, contemplative movie with the camera steady and lingering in scenes. I really liked the way it was shot, especially with the film's sound design being acute enough to capture everything in the background: most of the shots conveyed entire story beats.

A character will come inside, bringing sounds of real life in the empty house as a ghost watches them walk past him as if he's not even there, as they leave, the sounds all die out.

Which is really cool because there's hardly any dialogue in the film. Years go by in a single cut, moments and feelings left visualized between strangers but you never get to a part of them.

I think - it amuses me to think this way - that this is how all audiences must feel at some point, we are with the ghost watching the world exist around him and we feel empty but not entirely alone, our feeble human minds wanting to make a connection: it becomes necessary to find something to love or be angry about when the capacity to love or be angry exists and you can't exercise it the way you want to.

In a way, this film must necessary feel hollow and pessimistic, atleast that's the path it's most loud moment seems to point to but it doesn't, the soundtrack's upbeat electronic music played on top of warm classic compositions and the warmer tones of colors always has that hint of nostalgia that makes the whole film a little more heartfelt.

This is a short one, at 1 hour and 32 minutes, A Ghost Story finishes off with a very well paced story and a somewhat sudden ending that I wasn't expecting.

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