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submitted 1 month 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.

Matrices for blorptube: https://matrix.to/#/#visual_cuisine:matrix.org | https://matrix.to/#/#blorptube:matrix.org

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 6 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 don't watch "Tonight Show," but I watch Dolly Parton's Mountain Magic Christmas every year and damn if this existential nostalgia horror doesn't define the Fallon/Parton musical number in the 50's diner

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Anne Hathaway is a comrade confirmed

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submitted 1 day ago* (last edited 1 day ago) by Erika3sis@hexbear.net to c/movies@hexbear.net

Copying the description of this video:

Ahead of its debut on April 27, Disney has shared a first look at footage from Songs in Sign Language, its collaboration with the Deaf West Theatre that reimagined and animated songs from Frozen 2, Encanto, and Moana 2 in American Sign Language (ASL).

Directed by veteran Disney animator/director Hyrum Osmond, the featured songs are “The Next Right Thing” (from Frozen 2), “We Don’t Talk About Bruno” (from Encanto), and “Beyond” (from Moana 2). Take a look at clips taken from each musical number, as well as behind-the-scenes b-roll footage that offers a look at the process.

Osmond, along with producers Heather Blodget and Christina Chen, worked in collaboration with artistic director DJ Kurs and the team at Los Angeles’ Tony Award-winning Deaf West Theatre to create the new versions of these songs. A special behind-the-scenes featurette will accompany its release.

Osmond led a team of more than 20 animators who worked with sign language reference expressly created for Disney Animation’s Songs in Sign Language. DJ Kurs, artistic director for Deaf West Theatre, worked with sign language reference choreographer Catalene Sacchetti and a group of eight performers from Deaf West Theatre, reimagining and choreographing lyrics into ASL by focusing on concepts and emotion instead of a word-for-word transcription.

Disney Animation’s Songs in Sign Language will be available on Disney+ on April 27, which coincides with National Deaf History Month.

Video/Photo Credit: Courtesy of Walt Disney Animation Studios

Some important notes: no """AI""" was used to make this. They literally took the actual assets from the movies and re-animated them in ASL. And it is ASL, not SEE or contact sign or anything else.

Something I find especially striking about this Disney project is that 11 months ago I made a post to /c/worldbuilding about an "Open Sign Language Animation Project" in the future: after the global socialist revolution, Japan established a state-owned animation studio that took over all the animation assets of Ghibli films and other classic anime. So this project of Disney's in the present day is sort of the closest thing to OSLAP in our time, and it proves that dubbing animated films into sign languages is feasible and something there is a real demand for. But imagine how much more accessible media could become if films' animation assets were made publicly available! That was the idea behind OSLAP: making animation assets publicly available for the purposes of dubbing formerly-copyrighted works into sign languages. Unlike Disney's ASL songs project, though, OSLAP had a limited usage of ML technology: first, 3D anime character rigs were created for traditional motion capture; and then each work in the project would also have a machine learning-based renderer created for it, to optionally convert the 3D rigs into the 2D anime style of the respective work (see this video).

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submitted 2 days ago by Tychoxii@hexbear.net to c/movies@hexbear.net
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Incredibly gut wrenching movie 10/10 experience felt a lot of emotions. I don't do or read film analysis but I'd love if someone pointed me to a good one of this movie. There were a lot of motiffs that I caught the existence of but not the meaning of.

Anyway I came here to ask if anyone else found it unfulfilling? It was a very well made film but it felt like it had no closure. I assume this is intentional and meant to reflect the lack of closure that victims of war often experience but I wanted y'alls thoughts on it. I also found the title very interesting and sort of mocking. It's like the creators are disgusted by the fact that I would want to witness their carnage and only showing it to me in a "get what you asked for and live with it" kinda way.

Highly recommend this movie

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"Lo-cutest" (hexbear.net)
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submitted 5 days ago* (last edited 5 days ago) by TrustedFeline@hexbear.net to c/movies@hexbear.net

Starring a young Sean bean , It's based on a british young adult napoleonic fiction series. kinda like master and commander, as far as genre. I think the youtube channel is giving it a bit of a revival (that's how I heard of it).

It's a fun show. There's not much character development, but def has themes on class and imperialism. The main character is an enlisted prole sergent that gets a field commission, so there's the tension he has with blue-blooded officers. His sergent Patrick is basically his sidekick, so there's also the tension between the irish soldiers and the anglos. Sharpe and Patrick are absolutely gay for each other !

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A startling behind-the-scenes warning from the heart of The Original Series: Dorothy Fontana saw the danger before the fall became obvious. In this video, Trek World explores Fontana’s 1967 memo, why she feared Star Trek was repeating itself, and how concerns from insiders like Robert Justman, Joseph Pevney, and Walter Koenig reveal a series under real creative strain.

This is not just a story about declining quality. It is a story about identity — about what happens when a bold show begins imitating itself, losing balance, and drifting away from the very imagination that made it matter. From Bread and Circuses to A Private Little War, this episode examines the philosophical cracks forming inside Star Trek’s second season and why Fontana’s warning still echoes across the franchise today.

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