But, like the "Rebelde" we all know and love, the clip Netflix shared shows that there'll be no shortage of musical acts. The reboot of the wildly popular Mexican teen musical dramedy of the early-aughts, directed by Santiago Limón, seems to have taken a page from "Elite," opting to put the students in preppy uniforms, rather than the iconic scanty skirts and cropped blouses of its predecessor.
The new generation of students are as follows: Azul Guaita as Jana Cohen, Sergio Mayer Mori as Estebán, Andrea Chaparro as M.J., Jeronimo Cantillo as Dixon, Franco Masini as Luka Colucci, Lizeth Selene as Andi, Alejandro Puente as Sebastián Langarica-Funtanet and Giovanna Grigio as Emilia. Estefanía Villarreal will reprise her role as Celina Ferrer, but, plot twist: she's now the principal of the prestigious boarding school.
Netflix revealed a first look at the "Rebelde" 2022 reboot today at its aptly-named global fan event Tudum, taking fans of the nostalgic telenovela back to the halls of Elite Way School.
In the first look, some of the students break out into the classic "Rebelde" tune. The show starred Anahí, Christopher von Uckermann, Dulce María, Alfonso Herrera, Maite Perroni and Christian Chávez. "Rebelde" is based on the intellectual property of Cris Morena Group and Dori Media Group, later adapted by Televisa. Up until their separation in 2009, the group became one of the best-selling Latin music acts of all time, selling over 15 million records globally. Throughout its three seasons, "Rebelde" aired a whopping 440 episodes, and it soon became— and to this day remains —one of the most recognizable pieces of Latinx tween and teen pop culture. The most popular iteration of "Rebelde" (which was actually a Mexican remake of the original Argentine "Rebelde Way") aired from 2004 to 2006. The actors played a meta-version of their band, RBD, on "Rebelde," which gave them international recognition.
https://www.youtube.com/watch?v=rVCcQ0D7_cE” />

I would have never gone to a traditional musical, but this…’ Seeing bros on dates is kind of awesome.” Some of my favorite comments from people are, ‘I would have never gone to see a theatrical show. Executive producer Shane Scheel says part of the production’s marketing goal is to “reach the average Joe that’s intimidated or is turned off by theater.
production from the team will be a renewal of their “Love, Actually” show at the Wallis in Beverly Hills; it’s the one show they’ve put into production that is based on one movie, not an assemblage of films. Currently, For the Record is working on mounting a production of “The Brat Pack” — a show that combines songs from ‘80s movies like “The Breakfast Club” and “Say Anything” — in San Francisco. The next L.A.
saying, ‘Could we do For the Record here some nights?’ It was always an idea because the space is so magical and flexible.” “The space was built for ‘Rock of Ages’” to play in L.A., she points out. “The Bourbon Room is the name of the fictitious bar in that show, so we created a space that had previously been just a name in a play and made it come alive. And then when the pandemic hit and there was no way to get ‘Rock of Ages’ back up and running, I remembered how I had during that run been talking to Shane and Anderson.
And finally, the M-word might scare off part of the target audience — the part that is wearing “Death Proof” T-shirts to a night out at what may or may not count as "the theater."
Every one of our shows is a little bit different on how it's structured based on all of the parties that are involved in the IP, but he is unique in the sense that he is the guy that directs and writes everything, so he's been able to keep the rights for any kind of theatrical adaptations of his work beyond the film itself. Says Davis, “Quentin showed up at the very first incarnation of it because he had a relationship with Tracie. We're doing your whole life. And every production since then, he's come to it, and he definitely gets it and loves it. It will flash before your eyes.’ One Saturday night, he walked in there, and what ensued was several hours of tequila afterwards with Quentin, we started talking about all the things we could possibly do with it. … He is involved from a licensing standpoint, but not a producorial standpoint. Although,” Davis adds with a laugh, “I feel like, since he's now buying theaters, the Vista would be a really great place for this show.” She sent him a text message saying, ‘Hey, you should come and check this thing out.
“Our partners in ‘Love, Actually’ are Universal Pictures,” points out Billig Rich. It’s not at all what the Bourbon Room is, which has a nightclub energy and feels like a party.” “Some of the staff from assistants to the most senior execs at Universal had come to see various For the Record shows and were always so impressed. So when the pitch was ‘We want to do “Love, Actually” for Christmas as a live event,’ we got immediate buy-in from Universal to be partners on it. And this is the third season that it’s being presented at the Wallis, which is a proscenium theater — you get your ticket, you sit in your seat.
For one thing, its “book” — largely an amalgam of dialogue from Quentin Tarantino’s movies — is a sort of loose fantasia tying characters and themes from the films together into a surreal, seriocomic knot, more than any traditional, straight stage narrative. For another thing, the 50-plus songs from the filmmaker’s soundtracks are being licensed for an immersive concert nightclub experience, not a theatrical production… although a transfer to the legit stage is something that’s hoped for down the road. But its creators would rather that you not call “Tarantino Live” a musical per se, or at least not boil it down strictly to that term.
“It is completely overwhelming. But I look at this concert version as the workshop for the next version, because we'll have worked it out, and we can invite publishers and rights holders and all sorts of different people to come see the concert version, and they get much more invested into helping us make it for the stage show version.” “But because it's a concert experience and not a stage show, there’s less hurdles. Holy shit,” laughs Billig Rich. When this show goes to a proscenium theatrical version, I expect there'll be more. Was it not overwhelming to license more than 60 songs for “Tarantino Live”?
The germ of the show — and of For the Record generally — came 11 years ago, when Scheel was looking to do a cabaret-style night of songs with friends from the theater, and thought that rather than indulge in show tunes, numbers from Tarantino films might be a more novel (and L.A.-specific) alternative. It didn’t hurt that part of his circle of participating friends was Tracie Thims, who actually co-starred in “Death Proof,” and who has been a part of different “Tarantino Live” productions since. Davis came in about a year later as the show graduated from an informal get-together to a ticketed event in small clubs.
But if you're talking about just the way it works in the show, I really liked ‘Good Night Moon,’ which is not a song that I really paid a ton of attention to when the soundtrack of ‘Kill Bill 2’ came out. So that’s one of the moments in the show where one movie has a relationship with another movie.” And it just works so perfectly with that character, even though it's a totally different movie (than ‘Kill Bill 2’). Says Davis: “If the cast hears that I have a favorite, that puts in their minds that I think one performance is better than the other. The song was all about waiting with paranoia in the middle of the night for something to come and get you. And it's a very mysterious, haunting, obscure song, but I love the way the lyrics fit with the sentiment of Fabienne, the French girlfriend of Butch in ‘Pulp Fiction,’ where she is waiting for him to come back and they're hiding out from the gangsters.
And it's really fitting that you chose this location tonight, where you're celebrating me and the music choices I make.’ So it was full circle for him to walk into a venue where he’d tried stand-up comedy at one point, apparently. So he's been very complimentary to the show. The only thing he's ever wanted to do is give us more resources to do what we want and connect the dots, and was very helpful at doing that early on.” “When he came to the West Hollywood venue,” recalls Scheel, “he wasn't sure where he was going. We were in this space on Santa Monica Boulevard and he walks in and says, ‘The last time I came here, it was when I decided I was going to do stand-up comedy. And it was a lesbian bar, and I got booed off the stage.
The show is a vindication of Tarantino’s music tastes, certainly, and also of how small an excerpt it takes from one of his screenplays for audiences to lock into a scene joined already in progress. There was also a sense of vindication for the filmmaker just in one of the early venues “Tarantino Live” played as the show was being developed.
Needless to say, perhaps, none of this would be moving forward without the approval of the man himself.
“Tarantino Live” makes the case that most of Tarantino’s films have secretly been musicals all along. The stage show takes these moments next-level to imagine: What if the characters that were merely internalizing those often obscure Top 40 chestnuts of the distant past suddenly externalized them, and turned out to have Broadway-rock-opera-quality voices that could sometimes better the original recordings? Even though no one breaks into song in his narratives, a needle drop is rarely just a needle drop in one of his movies — they’re brought to the forefront as what almost seem like interstitial arias.
“If you're like a deep, deep Tarantino fan, there are so many secret handshake moments in the show that (others) wouldn't even know,” says Billig Rich.
It's bringing that music to the forefront and understanding how music really tells the story, just kind of reversing that normal dynamic, where the music’s supporting a story.” It works really well.’ I think there there's always that initial skepticism, especially from Tarantino aficionados, of ‘What is this going to be? They're turning this into a musical?’ And I think to a certain degree, it's a bit of a dirty word for Anderson and I: musical. I like when Anderson describes this as a rock concert with a story to tell. Says Scheel, “Someone came up to Quentin when he was seeing (a past production of) the show and asked him what he thought, and he said, ‘This shouldn't work, but it works.
This is not for kids. “It really does speak to everybody.” And then she qualifies that, remembering the amount of simulated gunplay and swordplay. But for anyone who’s not a weekend-midnights New Beverly habitue or even has only seen one or two, there’s the ineluctable appeal of great pop songs, well-belted — no Easter egg acknowledgement required. It’s a great grown-up night out.” And, lest the point be lost: “It’s also for dudes.” “If you like music, you're in; if you like movies, you're in,” she says. “When we do the ‘Brat Pack’ show, that’s more family-friendly.
And in the right context, in this concert style, it's a beautiful, perfect little Tarantino rock ‘n’ roll moment.” Even now, it’s in a movie that even some Tarantino fans haven't seen, which is ‘Death Proof.’ The lyrics were originally in French, and then the English-translated lyrics (in April March’s adaptation) are so brilliantly, perfectly on in this kind of weird genre world where a lot of these strong female characters are kicking the asses of the tyranny of evil men, which is what ‘Death Proof’ is about. And it just perfectly encapsulates that sentiment — like, hang up the chick habit or you're gonna get it; you're going to pay the price. The director adds, “Another one of my favorites is the song ‘Chick Habit,’ which almost no one had ever heard.
2. Tickets and further information can be found here.” /> "Tarantino Live" is currently set to play at the Bourbon Room in Hollywood through Oct.
“I keep calling it a meta narrative, which is to mash it up and make it feel like you're going through the journey of the entire filmography of a director,” says the production’s director and arranger, Anderson Davis, speaking not just of “Tarantino Live” but of some of the other auteur/soundtrack shows that have been put on by the company For the Record, which over the last decade have also included “Scorsese: American Crime Requiem" and “BAZ Star Crossed Love." How to describe the form?
And even Maria McKee fans may not likely have ever heard her sing “If Love Is a Red Dress” (also from “Pulp Fiction”) on stage, let alone witnessed it turn into a bravura chorale performed as a group-sing by the entire female half of a cast. Speaking of immersive, the show takes a pretty comprehensive plunge into those soundtracks, too, hitting expected notes like a reprise of John Travolta and Uma Thurman dancing to Dick Dale and the Deltones’ arrangement of the classic instrumental “Miserlou” in “Pulp Fiction,” or of “Across 110th Street” as the theme from “Jackie Brown,” but also gets into the deep cuts. It is just about guaranteed to be the only time you will ever hear Roy Orbison’s "There Won’t Be Many Coming Home" — as heard in “The Hateful Eight” — ever performed on a stage.
“It’s a different one every night, depending on how the crowd reacts,” says Scheel, “but the ‘Freedom’ song from ‘Django (Unchained)’ is probably my favorite, epic theatrical moment in the whole show.” Asked what their favorite numbers in the show are, the creators have some surprising choices.
I'd hate to say we're doing dinner theater, but this is the most like elevated version of dinner theater there is.” The fact that it could happen at a place like the Bourbon Room, which is built for something like this, makes it more exciting than a proscenium show.” There’s another sometimes verboten term that Billig Rich isn’t afraid to use. “There's something really extra special about being at the Bourbon Room that feels like you're part of like a secret club. More bluntly, Janet Billig Rich, the somewhat legendary music business figure who has worked on acquiring song rights for this and other For the Record shows, calls it “a hybrid that celebrates a director’s fucking great taste in music. And it could grow into a proscenium theater thing, but I think it could lose something there, too. There's something about the experiential part of it, where it's happening around you and all of a sudden your server is onstage and your bartender’s shimmying through the tables singing and being part of the production, that makes what For the Record does really special. It's a concert meets a cabaret. I hate calling it a musical.
Billig Rich is the major dot-connector on the rights side. comes in. That’s something she’s specialized in, in part, since the days when she was one of Nirvana’s managers at Gold Mountain. She still has hands in artist management and music supervision, but was also one of the original producers of “Rock of Ages” on Broadway, which is where the Bourbon Room on Hollywood Blvd.
For one thing, that they’re all characters in a stage musical now playing at the Bourbon Room in Hollywood. Pink, Charles Manson and the Gimp all have in common? What do the Bride, Jackie Brown, Django, Mia Wallace, Hans Landa, Cottonmouth, Stuntman Mike McKay, Mr.
The clubbiness of the QT cult is part of what keeps the 200-seat Bourbon Room sold out every night, although, as the box office for “Once Upon a Time in Hollywood” proved, he’s about as mainstream as auteur filmmaking has ever gotten. As for taking “Tarantino Live” to a proscenium approach, Billig Rich and the other principals are mindful of what could be lost as well as gained, beyond just renegotiating song rights.

(The comparison to reactions to climate change are not a coincidence.) The dark sci-fi comedy, directed by Adam McKay, stars Lawrence and DiCaprio as two low-level astronomers who try to warn politicians and others that the Earth is in danger as a giant asteroid approaches, only to be met with apathy and skepticism.
It's set to have a limited run in theaters before landing on Netflix on Dec. 24. The star-studded cast also includes Tyler Perry,  Timothee Chalamet, Ariana Grande and Cate Blanchett.
“Do you know how many ‘the world is ending’ meetings we’ve had over the last two years?” she asks in the first trailer.
Leonardo DiCaprio, Jennifer Lawrence, Meryl Streep, Rob Morgan and Jonah Hill are facing the threat of a comet hitting Earth in a new clip from the Netflix movie "Don't Look Up." The clip was shown during Netflix's Tudum event to showcase its upcoming TV series and movies.
But when they're the first to realize the danger that could be heading straight toward Earth, they embark on a media tour to spread the word. Randall Mindy, are not widely recognized in the astronomy world. Lawrence plays astronomy grad student Kate Dibiasky, who along with her professor, Dr.
"That is kind of how it started. But then the pandemic hit. We can’t even agree. We can’t even talk to each other anymore. So it’s about climate change, but at its root it’s about what has the internet, what have cellphones, what has the modern world done to the way we communicate," he said. What that did was bring out what the movie is really about, which is how we communicate with each other. McKay, the director of "Vice" and "The Big Short," told the New York Times in April that climate change was the original spark for the screenplay, but the pandemic enlarged the idea.
Meryl Streep co-stars as the President of the United States, who seems dubious about their finding.
https://www.youtube.com/watch?v=Op_v2PHDn-0″ />

As a result, said Abdy, MGM has been able to “build up an arsenal of films” ready to be released as the world opens up after the pandemic.
De Luca addressed the deal only to say that because it is under review by the Federal Trade Commission, “we're still operating like two separate companies because until it closes that's just the normal course of business.”
“I think originality is a giant, theater worthy criteria for us…there is so much volume going on, especially with the streamers. I don't think you win the streaming wars or even win the theatrical wars or any war with just blanket volume.”
De Luca and Abdy’s comments come, of course, just four months after streamer Amazon announced it was buying MGM for $8.45 billion.
Our hope is taking some of those titles, which don’t necessarily need to be remade in America and making them as local language films. I think there's a real opportunity there.”” /> Abdy added: “We have a deep library.
“That’s what drives us… People show up for something that is not pandering or derivative. “We’re looking for projects with that kind of special sauce,” said De Luca.
MGM has an impressive slate of films from leading directors coming up, including Ridley Scott’s "House of Gucci," George Miller’s "Three Thousand Years of Longing," Paul Thomas Anderson’s "Licorice Pizza" and Sarah Polley’s "Women Talking."
It's a competitive pitch for them. “At that time, the word uncertain was being thrown around a lot – like ‘theatrical has an uncertain future’ – which the streamers definitely exploited to their advantage, which is fine. But we just thought, ‘Okay, the studios are throttling back. Let's do the opposite.’”
“There's just a tremendous treasure trove of material that can be adapted to local languages.” Looking ahead, De Luca also said that the studio would “love to do more international co-productions” based on library titles from the MGM archive.
When building its slate, Abdy said there was no specific genre that the studio favored. “We try to go after filmmakers first and foremost. That's what attracts us mostly…for us the directors are the IP.”
Despite the lineup of big name directors making films for MGM, the pair also stressed that the studio is still taking swings on new voices and talent as part of a desire to give audiences original films.
Speaking at the Zurich Film Festival’s industry event, the Zurich Summit – ahead of next week’s theatrical launch of "No Time to Die" – the pair were interviewed on stage by CAA Media Finance co-head Roeg Sutherland. He asked how they convinced filmmakers to work with MGM rather than streamers “which are incredibly competitive about pricing.”
“The filmmakers that came with us prefer theatrical so it pitches itself. “The good news is we don't really have to do a heavy sales pitch,” replied De Luca. They're two very distinct experiences.”
MGM Motion Picture Group chairman Michael De Luca and president Pamela Abdy have stressed that the Hollywood studio remains a home for filmmakers who want to release their movies in the cinema.
Sutherland also asked De Luca and Abdy why they had “doubled down” on making movies during the pandemic while many other studios were stopping production.
He admitted, however, that the studio had lost out on some films to streamers because the talent had their own reasons to prefer streaming, including one who preferred to “not have the burden of an opening weekend” on their shoulders.
“And we gave them that choice.” “If you're George Miller, Ridley Scott, Paul Thomas Anderson or Sarah Polley, the people that we made movies with, they all to a person prefer that theatrical experience for their movie if given the choice,” said De Luca.
He added: “Neither of us will know what the integration might look like until we're on the other side of it getting approved and we're so far away from that.”
“Our slate reflects filmmakers who preferred theatrical, even in the era of the pandemic,” added De Luca.
“Whenever you're at a smaller, scrappier company, you look to what the big guys aren't doing. “We're an independent studio, we don't have unlimited resources,” explained De Luca. We’re very opportunistic about it…

My dad was reading it to me before I could read. So there’s a heavy Polish influence. There’s just a harder edge, which I found kind of fascinating. There’s something a bit more grim about it, and I’ve been told that’s the Polish way. In the same way that in 'Game of Thrones,' you didn’t know who was going to die, in 'The Witcher,' you can’t anticipate what’s going to happen, because it is quite a grim world." "I love the genre. This is just slightly different from your average fantasy genre. "I’m a big fan of fantasy," he said.
"Witcher" star Henry Cavill previously spoke with Variety about what attracted him to the material.
The streamer then announced its plans to fully develop the Witcherverse, announcing a second anime feature following this summer's "The Witcher: Nightmare of the Wolf" as well as a new kids and families series. Netflix also dropped a new trailer for Seasons 1 and 2, with some brand new footage of the upcoming sophomore outing.
"The Witcher" franchise took over the last stretch of Saturday's Netflix promotional marathon “Tudum: A Netflix Global Fan Event,” and fans were met with a ton of updates about the adventures of Geralt and his Witcher brethren.
“Tudum: A Netflix Global Fan Event" also included first looks and announcements from other Netflix series like "Stranger Things," "Umbrella Academy" and "Cowboy Bebop."” />
Then, two new clips from Season 2 were shared, featuring a look at Kristofer Hivju's monstrous character Nivellen and Ciri, played by Freya Allan.

From there, Netflix dropped the first behind-the-scenes look at the upcoming prequel series, "The Witcher: Blood Origin," which will follow the creation of the first Witcher prototype, as well as trace the events leading up to the "Conjunction of the Spheres:"
Among the announcements, the main "Witcher" series has been renewed for a third season, ahead of the launch of Season 2 later this year.

Golden Shell for Best Film: "Blue Moon," Aline Grigore
producer Ted Hope. This was the second year in a row that a first-time female filmmaker took the festival's top prize. Kulumbegashvili returned to the festival as the head of this year's predominantly female female jury — which also included French director and recent Venice Golden Lion champ Audrey Diwan, Oscar-nominated Chilean docmaker Maite Alberdi, Spanish actor Susi Sanchez and U.S. Last year, Georgian writer-director Dea Kulumbegashvili swept the board for her debut "Beginning," which won the Golden Shell in addition to Best Director, Actress and Screenplay.
Audience Award for Best European Film: "Between Two Worlds," Emmanuel Carrère
Completing a female stronghold on the top competition prizes, avant-garde French-Bosnian director Lucile Hadžihalilović took the runner-up Special Jury Prize for her third feature, the darkly surreal adult fairytale "Earwig." (Her longtime collaborator and husband Gaspar Noé, meanwhile, took the top prize in the festival's more experimentally oriented Zabaltegi-Tabakalera sidebar, for his harrowing dementia study "Vortex.")
Zabaltegi-Tabakalera Award (Special Mention): "They Carry Death," Helena Girón, Samuel M. Delgado
San Sebastian Audience Award: "Petite Maman," Céline Sciamma
New Directors’ Award (Special Mention): "Carajita," Silvina Schnicer, Ulises Porra
Yet a full spectrum was covered: At the opposite end of the celebrity scale, Jessica Chastain was one of two Best Leading Performance winners for "The Eyes of Tammy Faye." Female directors and actors reigned supreme at tonight's San Sebastian Film Festival awards ceremony, with the Romanian actor-turned-director Alina Grigore taking the Golden Shell for Best Film for her intimate debut feature "Blue Moon." The film, a raw realist study of a young woman attempting to free herself from an abusive rural household, was an unexpected winner, besting a number of higher-profile auteur films in the festival's main competition.
With French DP Claire Mathon taking the cinematography prize for the state-corruption thriller "Undercover," and the supporting acting award going collectively to the vast youth ensemble of Spanish entry "Who's Stopping Us," the only man to take a competition prize outright was veteran British director Terence Davies, a deserving Best Screenplay winner for his suitably poetic Siegfried Sassoon biopic "Benediction."
Irizar Basque Film Award (Special Mention): "Kuartk Valley," Maider Oleaga” />
Horizontes Latinos Award: “Prayers for the Stolen," Tatiana Huezo
Spanish Cooperation Award: "Prayers for the Stolen," Tatiana Huezo
Zabaltegi-Tabakalera Award: "Vortex," Gaspar Noé
Best Screenplay: "Benediction," Terence Davies
Huezo, who rose to prominence with her documentaries, was visibly moved by the recognition for first fiction feature, a coming-of-age story centered on a group of young women in a rural Mexican community regularly terrorised by cartel raids. Huezo's doc "Tempestad" was Mexico's international Oscar submission a few years ago; with tonight's haul following a strong Cannes reception, her latest has to be considered a strong possibility to be this year's candidate.
Irizar Basque Film Award: "Maixabel," Iciar Bollain
Special Jury Prize: "Earwig," Lucile Hadžihalilović
Céline Sciamma took the main Audience Award for her delicate heartbreaker “Petite Maman,” a small but perfectly formed dual study of motherhood and early childhood that has been an international critics’ favorite since its Berlinale premiere in February. (It's also shot, as it happens, by tonight's cinematography winner Mathon.) Emmanuel Carrère's Juliette Binoche starrer "Between Two Worlds" took a separate Audience Award for Best European Film — a somewhat confusing distinction this year, though perhaps male directors were due some kind of consolation prize. Finally, both the festival’s public-voted prizes went to French productions.
Silver Shell for Best Supporting Performance: "Who's Stopping Us," the ensemble
Silver Shell for Best Director: "As in Heaven," Tea Lindeburg
In the festival's other competitive sidebars, the female dominance continued. In the New Directors section — somewhat overshadowed by the dominance of first features in the top contest — Russian newcomer Lena Lanskih won for her somber teen motherhood study "Unwanted." And Mexican director Tatiana Huezo was a triple winner, emerging victorious in the festival’s Latin Horizons competition — and also scooping the Spanish Cooperation Award and the TVE Another Look Award — for “Prayers for the Stolen.”
Silver Shell for Best Leading Performance (tied): "The Eyes of Tammy Faye," Jessica Chastain; "As in Heaven," Flora Ofelia Hofmann Lindahl
"What a year to celebrate two female performances, it blows my mind," she said, before going on to pay tribute to Bakker herself: "I was so blown away by her compassion and her love and what she stood for, her allyship with the LGBTQ community," she said, before describing the film as "a reminder to look beyond our first impressions, and beyond the mascara." On stage, Chastain professed herself thrilled to be sharing the festival's first non-gendered acting award with another female performer.
TVE Another Look Award: Prayers for the Stolen," Tatiana Huezo
Best Cinematography: "Undercover," Claire Mathon
New Directors’ Award: "Unwanted," Lena Lanskih
Chastain was present to accept her half of the leading award for her committed star turn as controversial televangelist Tammy Faye Bakker in Michael Showalter's biopic, getting her projected Best Actress Oscar campaign off to a strong start. She shared the honor with overwhelmed Danish teen Flora Ofelia Hofmann Lindahl for the shattering family drama "As In Heaven," which also won the Best Director award for Tea Lindeburg — another freshman female filmmaker. Kulumbegashvili's jury was more inclined to spread the wealth than last year's, even awarding a tie for one of the festival's newly gender-neutral acting prizes.

'Area 51'
The unassuming woman claims she can bring him back to health using a voodoo figured made from his own skin and blood. With no way to reach his family, Marquis is left trying to break free from Eloises's dark magic and a sinister ritual that he knows is waiting for him.” /> Eloise's attic. After an intense storm derails the plane that Marquis and his family is on, he wakes up wounded and alone in Ms.
And what better way to induce some much-desired fear than with a spine-tingling horror movie? Spooky season is upon us, meaning it's officially time to indulge in all your bloody and gory cravings.
'Halloween V1: The Curse of Michael Myers'
Amidst the suspense and jump scares that make for an enthralling horror movie, the film also digs deep into the meaning of sacrifice and bravery, just like the one before it, particularly in Cillian Murphy's Emmet who uses his cochlear implant to ward off the blood-thirsty monsters. The 2021 film, which came out in May, picks up where the first left off, following a widowed Evelyn (Emily Blunt) as she attempts to bring herself, two children and newborn to safety in a world taken over by death Angels that will kill anyone that makes a sound. The sound-hating monsters from the first "A Quiet Place" movie get more screen-time in the sequel, making for a faster-paced hour-and-a-half.
In the 2015 film, a group of UFO-obsessed friends and wannabe journalists travel to the mysterious and remote military site to find out what's actually there. Named after the highly-classified U.S Air Force facility that many believe to be a meeting ground for aliens.
The 2002 film, a remake of a 1998 Japanese horror film, follows Naomi Watts' Rachel Keller, a Seattle newspaper reporter on a mission to find out whats on the mysterious, deathly cassette. Nothing promises the fright you might be craving quite like "The Ring," whose entire premise centers around one grisly videotape whose contents are so sinister that it kills anyone who watches it.
'A Quiet Place II'
"Cry of the Banshee" offers all the folksy galore of the supernatural for the witchy horror fans among us. The Elizabethan-era set tale follows one ruthless witch hunter whose dark magic and madness spark a devilish retaliation from his own family.
This chapter in the Myers saga introduces Tommy Doyle, a reclusive adult who saw the masked murderer battle his babysitter when he was a child, and is now determined to figure out the famous killer's motive. This 1995 Halloween movie centers around everyone's favorite maniacal mass murderer, who visits the quiet town of Haddonfield, Illinois on Halloween to celebrate the festivities. It isn't October until you've invited Michael Myers into your home, at least through the screen.
'The Ring'
'Night of the Living Dead'
There's no shortage of thrilling and creepy films for horror buffs to binge through the month of October, and luckily streamers such as Paramount Plus make it easier than ever to stream some of the best ones. From violent slashers and sinister classics, to high-speed blockbusters and hair-raising vampire flicks, there's a wide range of scary movies in Paramount's library for every type of person.
Joan Crawford, Bette Davis and Shelley Winters star in this classic horror film, in which a wealthy widow (Winters) invites a  pair of local orphans to spend the holidays at her house. Roo isn't what she seems. But as the movie goes on, the siblings begin to suspect that the unassuming Ms.
There's nothing creepier than a homicidal child, particularly one whose main targets are his own loving parents. The best part of this movie are the eerie surprises that Harvey Stephen's Damien brings to every scene. "The Omen" is an early example of the possession genre that gave way to classics such as "Rosemary's Baby" and "The Exorcist," in which a devil child (and in this case the literal son of Satan) wreaks havoc to all those around him.
'Fright Night'
The 1968 film was one of the first to introduce the signature slow shuffle of the undead, as a group of strangers on a remote farmhouse band together to escape the clutches of cannibalistic corpses come to life. The streamer has dozens of zombie films but "Night of the Living Dead" might be one of the best. Horror fans with a penchant for zombies are in luck.
The 1977 film transports viewers to San Francisco where Matthew Bennell begins to notice that his friends have begun to lose their sense of individuality. As it turns out, his friends are among millions of victims of a catastrophic epidemic slowly turning the population into intolerant and aggressive drones. Don Siegel's "Invasion of the Body Snatchers" is a must-watch horror film that's always worth a re-watch when you're in the mood for a good scare.
'The Omen'
'Whoever Slew Auntie Roo?'
Here are the best, spooky horror movies to get you into the Halloween spirit.
'Cry of the Banshee'
'Invasion of the Body Snatchers'
Charley is a happy-go-lucky senior in high school when his new next door neighbor's suspicious activity makes him conclude that he's a vampire. This 2011 remake, based on the original 1985 film of the same name, follows the same major plot points as Charley unsuccessfully tries to expose his blood-drinking neighbor only to set out to destroy him on his own.

The film explores how we, as humans, struggle to find meaning in ‘The Great Silence.’ When a tragedy happens, some people become more religious while others lose their faith or view it as further proof of a Godless universe. “I think religion can be a beautiful thing; I also think it can harm people. To me, that’s an interesting paradox.”” />
Nuns pray for the world, so Alma believes she is there for him. But he doesn’t think it makes any difference,” says Brocks, admitting the characters represent two sides of her and her dilemmas. “Once he arrives, it’s like watching a car crash.
Admitting that many films about nuns tend to focus on their chastity or sexuality – like Paul Verhoeven's recent Cannes curio "Benedetta" – Brock's interests lie somewhere else.
Brocks – who graduated from the National Film School of Denmark and already collaborated with Thorp on 2019 short “Below the Waves, Above the Clouds,” calling the actor her “creative muse” – became fascinated with nuns after witnessing a family friend taking her vows.
“I am curious to see if the audience will judge her or root for her,” she says, mentioning that while “The Great Silence” won’t criticize religion, it won’t glorify it either.
With most of the story taking place in a convent, Brocks has learned a lot from nuns she has interviewed, with many comparing it to just about every marriage.
But once her recovering alcoholic brother shows up, stirring up memories of a family secret, Alma begins to question her choices. Recently spotlighted at the Finnish Film Affair, where it was given the Best Nordic Project Award, Danish production “The Great Silence” will head straight to the convent, where Sister Alma (played by “Ninjababy” lead Kristine Kujath Thorp) is preparing to take her perpetual vows.
She isn’t honest about who she is.” I grew up with Jesus as the ultimate role model and my interpretation of this as a child was that I had to live up to a really high standard in order to be loved by God. “This story is really about our perception of ourselves, about going to extreme lengths in order to appear as a good person, even when it means we have to demonize other people. As an adult I’ve come to understand that the whole ‘message’ behind Jesus is that we are already forgiven. But in order to be forgiven, we have to be honest and that’s Alma’s problem.
“They told us that you have to choose to be in it. Sometimes you feel God is there, sometimes He is not – just like the love of your spouse. It’s hard work,” she says, interested in the contrasts between the sacred and the everyday.
The whole idea of a convent is about creating a guilt-free space; a small paradise where the original sin doesn’t exist. “Nuns make breakfast and send emails, and yet every chore becomes worship. But is that even possible?”
“You are getting married, but not to an actual person. The idea for the film came from that curiosity, from trying to understand what makes a person choose such an absolute way of living with God.”
The film, currently shooting in Copenhagen and produced by Pernille Tornøe of newly founded Monolit Film, will mark helmer Katrine Brocks’ feature debut, inspired by her religious upbringing in a Christian community and co-written with Marianne Lentz, also behind her Robert Award-winning short "In the Blink of an Eye."
I am much more interested in themes such as guilt and forgiveness, and mercy. The whole concept of being a sinner and a saint, and the clash between those two,” she says, hinting at Sister Alma’s darker side. "That’s not my focus at all.
“My parents met at a Bible camp. Religion has always been the backdrop of my childhood, it was the foundation of everything” she says, admitting that her “very personal relationship with God” changed once she started her teens.
Still, theological discussions will need to take a backseat to a story about two siblings trying to deal with their past trauma, with Elliott Crosset Hove cast as a skeptical older brother.
I guess the whole film is an exploration of that: figuring out where I stand in the midst of it all.” I wouldn’t say that I am a believer but I am not a non-believer either, you know? “I have been experiencing a spiritual identity crisis ever since I was 14 years old.

I think long-term fixes would include implementing things like universal design, which is the fundamental condition of good design – and it creates access, not just for one kind of person but for everyone.” As for the challenges to progress, Cat-Wells said, “Too much change is ‘performative.’ We see a lot of onscreen representation but we forget about behind-the-camera representation.
Rethinking processes and work space needs to happen, particularly for disabled actors, she added. “I think long-term change really looks like changing hiring processes, changing those physical spaces, making sure all sets and studios are accessible and being as disability – and inclusion – conscious in every decision.”
“We know this is not just a Finnish challenge – this is a global challenge,” said Keely Cat-Wells, CEO and founder of C Talent and Zetta Studios, who has also advised organizations from UCLA to Virgin Media on disability inclusion.
The resulting discoveries may well be seen in Finnish films and TV shows soon, though, she added, “Obviously not everyone will be a great actor – but we found a few people with great talent.”
“We need to invest in education,” Aksola said. “We need to bring more students who are in different diversities so that there are possibilities for acting courses.”
When asked for a recent teachable moment, Aksola cited a casting job done for a major Finnish project at which the director was clearly not happy “with some of the male suggestions not seeming to fit. And that worked.” We simply suggested, ‘What if it was a woman?’ And just like that we had a lesbian couple with children.
But even in a small, largely homogenous country like Finland, there are ways, said Katri Aksola, CEO of Helsinki Casting.
Meanwhile, emphasizing the need for solid data tracking, students from Metropolia University presented new statistical research, offering insights on improvements in the diversity of characters in Finnish films and TV from 2019 to 2020.
Studying real-world numbers is an essential first step, she added. Having that data-driven mission is very important and I think that would help with creating the short-term and long-term goals to produce those systemic changes and growing, keeping a culture of change.” “The data behind it is also incredibly important.
“Productions really need to invest more in pre-production, make it longer and use a professional casting director,” said Aksola, whose company was founded in part to create a large, centralized database of diverse acting talent.
Local characters in Finnish TV and film are increasingly diverse in ethnicity, disabilities and gender roles, according to industry insiders who took on the issue in Helsinki on Friday at the Finnish Film Affair, but there is still a long way to go.
The audience heard similar lessons in implementing change at all levels from Iyare Igiehon, creative diversity partner at the BBC, Magdalena Jangard, head of production and development of the Swedish Film Institute, Delphine Lievens, senior box office analyst at Gower Street Analytics, and Jasmijn Touw, director of public policy for Benelux and Nordic countries for Netflix.
But concrete examples of success do lie along the path, said speakers at the panel, titled “Representation Now! 2.0 – Tools for Moving Forward.”
To get the word out on the casting, Pride organizers partnered with the company and shared its posts about the talent search.
And often, they said, minorities were part of the story because of their skin color, concluding that the situation, while better than it was in 2019, has vast room for improvement.
The session, closing the Finnish Film Affair’s 10th anniversary edition, was organized in collaboration with APFI, the audiovisual producers association of Finland.” />
Over time, the availability of diverse, trained actors will improve, she said, but acting schools will need to start work on the problem.
In describing the top priority for industry change, Cat-Wells said, “I think it’s about creating those safe spaces but also about creating those rooms that can be incubators for actionable change.”
She agreed that creativity is key in casting as well.
Moderator Max Malka, a producer and head of scripted for Endemol Shine Finland, cited a frequent complaint from production companies looking to hire more diverse actors and struggling to find them: “We can’t find them – there aren’t any.”
Many production companies prefer to do their own casting, she acknowledged, but said, where diversity among actors is concerned, “I think a casting director is a must.”
“There’s so much talent that does not go through the traditional channels.”
“This year during Pride Week we threw an open casting for gender diverse people. We planned to make one open casting day and we ended up doing three full days.”
“It can be about creating that greater sense of urgency and developing the vision and strategy, the key principles.” Production companies also need to prioritize diversity and plan for it, she said.
Creative talent scouting can also yield rich results, Aksola said.
Having studied 18 films and 23 TV series from last year, the students noted that among 498 characters, only 89 were ethnic minorities and only three were main characters, while just six disabled characters appeared, mainly in side roles.

Craig and Michell worked together on "The Mother" in 2003 and "Enduring Love" in 2004, and Michell almost directed the Bond film "Quantam of Solace" in 2008. In the conversation, Craig also paid tribute to acclaimed director Roger Michell, who died on Wednesday at age 65.
“Working with Roger was like taking a long warm bath and I think that’s kind of like, you know — he was just delicious," Craig said.
During a conversation with Edith Bowman at his BAFTA: Life in Pictures event supported by TCL Mobile, Daniel Craig reflected on his career thus far as his time as James Bond comes to a close with the release of "No Time to Die" on Oct. 8.
During the interview, Craig discussed the long-standing belief that the 2004 crime drama "Layer Cake" was the catalyst for him to play James Bond, saying that he didn't see it that way at the time while acknowledging that it did elevate his career.
I wanted to be Spiderman as well, but I just thought it was never going to happen.” “I just said I can’t, I mean; I think you got the wrong guy,” Craig said. “People used to say, ‘Oh you must have always wanted to be James Bond.’ I went well, yeah, as a kid I kind of thought about it.
it's just always about the team and you know, Barbara makes an atmosphere on set where we're a family." But of course, Craig went on to star as Bond in five of the iconic franchise's films. Craig recalled saying goodbye to the role on the last day on set for "No Time to Die," saying: "I just realized I've been working with these people, some of them for nearly thirty years 'cause there's a lot of people I just worked with in the film industry…
But when asked who should take over as the next James Bond, Craig kept mum, saying: “Don’t ask that! You know what, it’s not my problem.”” />
When speaking about his time as Bond, Craig reflected on how he almost turned down the role when Barbara Broccoli offered it to him.
"They always want to talk about 'oh, you know 'Layer Cake,' it must have been your audition,' and I was like, 'believe me, it was the last thing on my mind that I was ever gonna play James Bond at that point,'" Craig said. "It definitely changed, shifted things in a way. People saw me in a different way and 'oh, you could be a leading man.' That definitely had an incredibly positive effect on my career."