Over 1,800 internationally known actors, directors, and film professionals pledged on 8 September to boycott Israeli film institutions that are “implicated in genocide and apartheid against the Palestinian people.”

The pledge, released by Film Workers for Palestine, states, “As filmmakers, actors, industry workers, and institutions, we recognize cinema’s power to shape perceptions. In this urgent crisis, where many governments enable the carnage in Gaza, we must address complicity in this unrelenting horror.”

It highlights that the International Criminal Court (ICC) has determined a “plausible risk of genocide” in Gaza and describes Israel’s occupation and apartheid policies as unlawful.

https://archive.ph/xaHe2

The book was phenomenal of course. However the American movie version ("Otto") while all the cast nailed it, really seemed like a long ad for Chevy, which irked me.

Not to mention their hypertruck or whatever at the end was OUTLANDISHLY hideous. One of the worst looking vehicles ever besides the cyber dumpster.

I have not seen the other version of the film.

Watched the movie last night with no knowledge of it except for the director’s last film. I was expecting another kinda campy high school horror film like Talk To Me, and that was not what I got; what I got was leagues better.

This movie surpassed every expectation and continued to blow me away as it progressed.

The casting was perfect. I would change nothing there. Sora Wong and Jonah Wren Philips deliver remarkable performances.

The pacing was remarkable; the last movie to keep me so locked in was Bong Joon Ho’s Parasite, and I don’t think any movie excepting The Lighthouse has filled me with such an overwhelming and compounding sense of anxiety and dread, and the antagonist is loathsome to an insane degree.

I did not find the cinematography particularly remarkable, but the tape nailed the snuff film vibe perfectly and the scenes of violence were next level and hauntingly vivid.

There are a few “trademark horror movie stupidity” moments (phone left unlocked on the bed), but they do not ever put the characters at a disadvantage to my recollection, which was super refreshing.

Also refreshing and something that I tremendously appreciate is the lack of jump scares.

I particularly liked how unique this movie’s approach is to common tropes of the genre. Despite the cursed media and ritual tropes, this movie oozes with originality in every aspect, and I was never certain of the outcome of its events.

Aside from clearly being a smart investigative reporter, or intern at least, and no one questioning Clark's absence in the T-Craft. Clark says their first date was 3 months ago while cooking dinner breakfast (conveniently the only period skipped in the intro timeline), and presumably Lois is dating Clark, not having ice cream and seeing movies with Superman. AND then Jimmy straight-faced says at the end Lois and Superman have been hooking up for 3 months. Jimmy knew the entire time.

“The Voice of Hind Rajab” premiere at the Venice Film Festival proved to be a hugely emotional event, with very few dry eyes in the Sala Grande.

One of the most talked-about films going into the festival, the powerful and gut-wrenching drama — from Tunisian director Kaouther Ben Hania — tells the true story of 5-year-old Palestinian girl Hind Rajab, who was killed in the early stages of the war in Gaza. The feature received a huge 22-minute standing ovation, the longest of the festival so far. As the ovation surpassed 20 minutes, and in a clear effort to get the room to disperse, the lights were dimmed in the theatre. The clapping continued.

Attendees in the crowd were holding up several Palestinian flags, and chants of “Free Palestine” rang out during the applause. Joaquin Phoenix and Rooney Mara, who are executive producers of the film, were in attendance and held a photo of Rajab on the red carpet with the filmmaking team. Phoenix also wore a Artists for Ceasefire pin.

A new film about a five-year-old girl killed in Gaza by Israeli Occupation Forces is drawing attention at the Venice Film Festival, as its director seeks to humanize the victims of the assault.

Franco-Tunisian filmmaker Kaouther Ben Hania told journalists Wednesday that her aim with The Voice of Hind Rajab is to provide “a voice and a face” to those often reduced to statistics in global media coverage.

“We've seen that the narrative all around the world is that those dying in Gaza are collateral damage, in the media, and I think this is so dehumanising,” Ben Hania said ahead of the film’s world premiere. “And that's why cinema, art, and every kind of expression is very important to give those people a voice and a face.”

Daniel Day-Lewis out of retirement to act in his sons directorial debut. They co-wrote it together.