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Tag: Cinema

  • Why Frederick Wiseman Was the Greatest Documentary Filmmaker Ever

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    His work depended on access. He filmed in hospital rooms where patients and families faced incommensurable agonies with the aid of the medical staff (“Near Death”); he filmed in administrative offices (“At Berkeley,” “Ex Libris”), in businesses (“The Store,” “Model”), in government buildings (“City Hall”). Yet people tended to speak uninhibitedly in his presence. He told me that they simply forgot he was filming there. It helps that Wiseman was slight of stature and calm of manner. It’s hard to imagine him passing unnoticed if he’d had the height and the bearing of Charlton Heston.

    It’s also hard to imagine Wiseman having started a similar career a decade sooner, because his films depended, to a significant extent, on a new technology that had begun to reveal its power—a system that allowed a lightweight tape recorder and a relatively lightweight movie camera to synch up, with no cable connecting them. Such equipment proved its artistic importance in 1960, with Robert Drew’s “Primary” and, in France, Jean Rouch and Edgar Morin’s “Chronicle of a Summer”—the early generation of films in the format called cinéma vérité, or direct cinema. Wiseman said he was inspired by Drew’s 1961 documentary “Mooney vs. Fowle,” a chronicle of a high-school-football championship game. When Wiseman got started, it was in a new field that, although burgeoning, seemed both wide open and unformed. He took hold of a still-young format and, guided from the start by an unyielding sense of principle, made a body of work so original, idea rich, and unified that it seems foreordained—a historic fusion of investigation and the inner life.

    Wiseman brought intellectual form to nonfiction through the single word “institutions,” a concept that carried the philosophical heft of the contemporaneous work of Michel Foucault; Wiseman similarly probed the intersections of systems of knowledge and power, and drew attention to the physical authority that ultimately backs up the abstract determinations of administrative rules. Where Foucault exhumed a hidden historical archive, Wiseman created a new one, in real time. He also created an institution of his own, Zipporah Films, to distribute his work. (Founded in 1971, it was named for his wife, Zipporah Batshaw Wiseman, who was also a law professor; she died in 2021.)

    He was a true independent whose method was as rigorous and as singular as his intellectual focus. On location, he worked with a spare crew comprising a cinematographer (from 1980 to 2020, John Davey) and a camera assistant; Wiseman himself carried the tape recorder and wielded the microphone until, for his last documentary, “Menus-Plaisirs—Les Troisgros,” from 2023, he could no longer do so.

    As the literal bearer and the first hearer of his films’ sound, Wiseman was also the immediate receiver of the subjects’ discourse in its most concentrated form, on headphones, and his material relationship to these voices is embodied in the work. Much of the action is in the form of talking, which the incisively analytical images parse with the emotional precision of dramatic stagings, lending the talk a sort of emphatic onscreen incarnation. Filming with his ears and listening visually, Wiseman constructed mighty grids of connections and implications, long-term dramas on vast architectural frameworks as if they were cinematic operas. “Welfare” feels both colossal and brisk at two and three-quarter hours; “Central Park” is nearly three; “La Comédie-Française” approaches four; “Menus-Plaisirs” hits four; “Belfast, Maine,” “At Berkeley,” and “City Hall” exceed four. “Near Death” (which I consider a supreme masterwork, alongside “Welfare” and “In Jackson Heights” and the early, more journalistic “Hospital” and “Law and Order”) runs two minutes short of six hours.

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    Richard Brody

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  • Pope Leo XIV reveals a very wholesome list of favorite films. You expected different?

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    The “Purge” movies are missing from the list, as are the entries in the “Saw” franchise. There are no “Evil Dead” titles. “The Exorcist” is suspiciously absent.

    The list, in this case, is the favorite four films of Pope Leo XIV, f.k.a. Robert Francis Prevost of Chicago. The pontiff released the list via video ahead of a planned meeting Saturday with luminaries from the world of cinema.

    To avoid the risk of being played off the stage by the academy’s orchestra, let’s share the winners quickly:

    1. “It’s a Wonderful Life,” 1946
    2. “The Sound of Music,” 1965
    3. “Ordinary People,” 1980
    4. “Life Is Beautiful,” 1997

    That’s it. No “The Agony and the Ecstasy.” No “Pope Joan” or “Spotlight” or “Conclave,” for obvious reasons. No “Sister Act” or “Oh, God!” or any of the associated sequels, for less obvious reasons.

    As a matter of fact, not a single comedy at all, much less a goofy comedy. And on either the drama or comedy fronts, the pope definitely could have chosen at least one flick set in his former neck of the woods. Think “The Blues Brothers,” “Home Alone,” “The Untouchables,” “High Fidelity,” “Eight Men Out” or “Ferris Bueller’s Day Off.” (Think “Chicago,” for goodness’ sake.)

    Pope Leo will apparently be meeting Saturday with Hollywood types including, Variety reports, actors Monica Bellucci, Cate Blanchett, Alison Brie, Dave Franco, Viggo Mortensen and Chris Pine, plus directors Spike Lee, George Miller, Giuseppe Tornatore and Gus Van Sant.

    Seems the pope “has expressed his desire to deepen dialogue with the World of Cinema, and in particular with actors and directors, exploring the possibilities that artistic creativity offers to the mission of the Church and the promotion of human values,” according to a statement obtained by CNN.

    That sounds all well and good, and a person can’t really go wrong with the movies on the pope’s list — two of the four are best picture Oscar winners, and the other two are best picture nominees.

    That said, let’s shed a tiny tear for the exclusion of “Bruce Almighty,” if only because Morgan Freeman could use a little papal recognition too.

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    Christie D’Zurilla

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  • Good Will Hunting: A Masterclass in Therapy and Emotional Growth

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    Take a deep dive into the therapeutic relationship as illustrated in the classic film Good Will Hunting, where a defiant genius and a compassionate therapist confront pain, grief, and regret in an emotional journey that changes them both.

    Good Will Hunting (1997) is a widely acclaimed cinematic masterpiece, offering one of the most compelling depictions of therapy ever portrayed on screen — and it remains one of my personal favorite movies of all time.

    The main protagonist is Will Hunting (played by Matt Damon) who is portrayed as an underachieving genius who works a modest life as a janitor at the prestigious MIT. Despite his intelligence, he’s emotionally guarded and frequently gets into brawls and run-ins with the law. One day he solves a difficult math equation on a chalkboard and is then approached by professors and faculty to pursue his talents in mathematics, but first he has to see a therapist and work out his personal problems.

    Will’s journey into therapy begins reluctantly with a typical “I don’t need to see a shrink” attitude. But after a series of arrests and getting bailed out, he’s court-ordered to start seeing someone. He cycles through five therapists, including a hypnotist, antagonizing each one to the point that they refuse to work with him. Will’s sharp intellect and deep emotional defenses make it nearly impossible for anyone to break through and connect with him.

    Finally he meets Sean Maguire (played by Robin Williams), a compassionate but no-nonsense therapist with a rich life of experiences, including deep wounds from his past, and accumulated wisdom. This article breaks down their relationship, session by session, to explore how it evolved throughout the film and potential lessons we can takeaway from it.

    First Meeting: Tensions and Boundary Testing

    Will’s first meeting with Sean begins with his usual strategy of intellectual dominance and boundary testing.

    He scans Sean’s office, searching for things to criticize, and immediately targets his book collection. “You people baffle me. You spend all this money on beautiful, fancy books, and they’re the wrong f***ing books.” Sean, unfazed, spars back, standing his ground while playfully naming books he assumes Will has read.

    Things reach a climax in the scene when Will begins to mock a painting hanging on the wall, which hits a personal nerve for Sean regarding the grief and loss of his wife. Sean’s reaction is striking and unconventional. After listening patiently, he suddenly grabs Will by the throat and threatens him: “If you ever disrespect my wife again, I will end you.”

    While it’s an unethical move for a therapist, this unorthodoxy shows Will that he is not dealing with an ordinary therapy. Both Will and Sean share working class Irish backgrounds in the hard streets of Boston. Sean knows this language and he is willing to speak it if it’s the only way to get through to Will. Sean thus establishes himself as someone who understands Will’s world, where strength and confrontation often dominate.

    This moment lays the foundation for their relationship. Sean shows he’s human, not just a clinical professional, but also that he won’t be intimidated or dismissed by Will’s antics. It’s the first step in breaking down Will’s defenses.

    The Bench Scene: A Turning Point

    After their intense first meeting, Sean invites Will to a park, where he delivers one of the most memorable monologues in the film. Sean begins by admitting his vulnerability, sharing that Will’s comments about the painting kept him up all night and genuinely bothered him.

    By admitting Will’s comments hurt him, Sean shows he’s willing to show weakness, but then he sharply pivots to challenge Will directly, “But then you know what occurred to me? You’re just a kid. You don’t have the faintest idea what you’re talking about.”

    Sean goes on to explain that despite Will’s intellectual brilliance, he lacks lived experience. Sean shares personal moments that defined him — seeing the Sistine Chapel in person, being truly in love with someone, the scars of losing friends in war, and watching a loved one die of cancer. These deep experiences illustrate the limitations of knowledge without life. Sean’s speech is a blend of tough love and empathy, forcing Will to confront the gap between his intellectual defenses and his emotional reality.

    good will hunting bench

    The bench scene sets the tone for the remainder of their therapy. Sean acknowledges Will’s brilliance but challenges him to live beyond books and theories. Sean leaves the door open for Will to continue having sessions with him only if he is ready to truly open up.

    Second Therapy Session: Silence

    The next therapy session begins with complete silence as Sean and Will sit across from each other. After two emotionally charged meetings and still lingering tensions, neither is willing to be the first to reach out or break the quiet.

    The entire hour goes by and neither says a word. While this may feel like an unproductive session, this is another important moment in their relationship. The power of silence acts as a reset button in their relationship.

    Sometimes, simply sitting in the same room without confrontation (“sharing space”) can be a meaningful step toward healing. It allows both Sean and Will to recalibrate, setting the stage for a more productive dynamic moving forward.

    Third Therapy Session: Humor and Opening Up

    The silence stand-off continues into their third session, with each still not willing to budge or say the first word.

    Finally Will breaks the silence with a dirty joke, immediately breaking the tensions in the room and reinitiating conversation in a fun and light-hearted way. After they share a laugh, Will begins to open up about a girl he’s been dating recently. Will mentions how he worries the girl is “too perfect,” and that getting to know her more would just shatter that illusion. Sean wisely responds back, “That’s a super philosophy, that way you can go through your entire life without ever really getting to know anybody.”

    Sean opens up about his wife and the quirks behind their love, like her farting in her sleep and waking up the dog. After all these years, these are the little moments he remembers and cherishes about her. No one is “perfect,” and it’s often the imperfections that make someone special to us.

    good will hunting laugh

    Robin Williams improvised the story about his wife causing Matt Damon to genuinely burst out into laughter during this scene.


    After more light-hearted banter, Will turns the tables and ask why Sean never got remarried. Will firmly replies, “My wife is dead.” Then Will, always testing and challenging, uses one of Sean’s lines against him: “That’s a super philosophy, that way you can go through your entire life without ever really getting to know anybody.”

    Fourth Therapy Session: Love, Opportunities, and Regrets

    Now on much more amicable terms, Will opens up with an honest question, “Do you ever wonder what your life would be like if you never met your wife?”

    Sean accepts that there’s been a lot of pain and suffering in his relationship, but he doesn’t regret any of it, because the good moments were worth it and he wouldn’t trade a single day with her through good or bad times. Will presses to learn more, “When did you know she was the one?”

    “October 21, 1975.”

    It was game six of the World Series, the biggest game in Red Sox history – and Sean slept on the sidewalk all night with friends to get tickets. He recalls the momentous occasion when the Red Sox hit a game-winning home run and everyone rushed the field.

    “Did you rush the field?”

    “Hell no, I wasn’t there. I was in a bar having a drink with my future wife.”

    The story illustrates how Sean knew his wife was the one when he was willing to miss the opportunity of a life-changing moment (being at a historical sporting event) for an even bigger life-changing moment (finding love and his future wife).

    Will is incredulous and yells at Sean for missing the game. He asks, “How did your friends let you get away with that?” And Will simply replies, “I just slid my ticket across the table and said, ‘Sorry guys, I gotta see about a girl.’”

    Fifth Therapy Session: Facing Potential and Values

    In this session, Will begins to ask deep questions about what he wants to do with the rest of his life and what are the best uses of his intelligence and talents.

    After a job interview with the NSA, Will goes into a diatribe about how his talents could be hypothetically used for catastrophic consequences, like overthrowing foreign governments, destabilizing entire countries, or getting his friends sent to fight some war overseas.

    Sean asks him directly, “What are you passionate about? What do you want?”

    They discuss the honor of work, including construction work and Will’s job as a janitor and the pride he takes in it, even though society may not view it as the most rewarding job in the world. Sean prods further asking why he chose to be a janitor at the most prestigious technical university in the world, and why he secretly finished math problems, highlighting that there may be something else driving Will.

    Sean asks again what Will wants to do with his life, and he deflects by joking that he wants to be a shepherd on his own plot of land away from the world. Sean isn’t willing to waste his time and decides to end the session early. Will has a final outburst before leaving, “You’re lecturing me on life? Look at you, you burnout!”

    This session reveals how Will is afraid of his potential and talents, including the responsibility that comes with them. “I didn’t ask to be born like this.” He feels safe continuing to live in his hometown, work his everyday job, and hangout with his childhood friends. He’s afraid to dream bigger. There may be something deeper driving Will’s thirst for knowledge, but he doesn’t know his core values and motivations, and doesn’t truly know himself or what he wants out of life.

    Sixth Therapy Session: “It’s Not Your Fault”

    The next therapy session begins with Sean uncovering more about Will’s painful past, particularly his life as an orphan and the physical abuse he endured with his foster parents. Sean reveals that he, too, grew up with an abusive, alcoholic father, forging another shared bond between them.

    As their conversation unfolds, Will correctly guesses that his final psychological report likely diagnoses him with “attachment issues” and a “fear of abandonment.” He acknowledges that these issues may have driven him to push his girlfriend away, leading to their recent breakup. When Sean gently asks if he wants to talk about it, Will declines.

    Sean then shifts the focus, holding onto the reports as he says, “I don’t know a lot. But you see this? All this shit? It’s not your fault.”

    At first, Will politely agrees, brushing off the comment, but Sean repeats the line: “It’s not your fault.” With each repetition, Will’s emotional defenses begin to crumble, and he cycles through a range of emotions—politeness, confusion, anger, and aggression—until the weight of Sean’s words fully sinks in. Overwhelmed, Will finally breaks down and cries, releasing years of suppressed pain and guilt.

    good will hunting

    In this profoundly cathartic moment, Sean embraces Will, offering the safe and empathetic connection that has been absent from Will’s life. It’s a turning point where Will confronts his past without blame or self-judgment, finally opening the door to acceptance and healing.

    Last Goodbye

    In their last meeting, Will thanks Sean for all of his help and shares the good news that he has accepted an exciting new job. Sean, in turn, reveals his plans to travel and explore life on his own terms. They exchange numbers to keep in touch, symbolizing the respect and connection they’ve built.

    This moment underscores that therapy is often a chapter in life that prepares individuals to continue their journeys independently. Both Will and Sean needed to say their goodbyes and go their separate ways to continue following their paths in life. Will has learned to face his fears and embrace his potential. Sean has rediscovered purpose and fulfillment through helping Will. Their goodbye is bittersweet but profound, a reminder that growth often requires letting go and moving forward.

    In the final scene, Will leaves a letter at Sean’s place that reads, “If the professor calls about that job, just tell him sorry—I had to go see about a girl.” This moment beautifully exemplifies Will’s newfound courage to follow his heart and take meaningful risks.

    Conclusion

    The therapeutic relationship between Sean and Will in Good Will Hunting is a masterclass in storytelling and psychology. Through humor, vulnerability, and mutual respect, Sean helps Will break through years of pain and fear, while Will reignites Sean’s passion for life. Their journey is a powerful testament to the transformative potential of therapy — and how creating a space of acceptance, healing, and growth can change lives.


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    Steven Handel

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  • ‘Anora’ Is Pure Cinema, and the Best Picture Race Is Completely Up in the Air

    ‘Anora’ Is Pure Cinema, and the Best Picture Race Is Completely Up in the Air

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    Now that Anora has hit select theaters, Sean assesses the state of the Best Picture race by running through a long (emphasis on long) list of 26 films that have a chance to be nominated at the Oscars (1:00). Then, Sean and Amanda discuss Anora, Sean Baker’s Palme d’Or–winning drama about a whirlwind romance between a sex worker and the son of a Russian oligarch (30:00). Finally, Sean is joined by John Crowley, the director of the new Andrew Garfield and Florence Pugh romance We Live in Time (1:15:00). They discuss, among other things, the qualities that attracted Crowley to Garfield and Pugh, how he chooses to work in film vs. theater, his long-running project of sincere romantic dramas, and more.

    Hosts: Sean Fennessey and Amanda Dobbins
    Guest: John Crowley
    Senior Producer: Bobby Wagner
    Video Producer: Jack Sanders

    Subscribe: Spotify / Apple Podcasts

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    Sean Fennessey

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  • 14 Powerful Genre-Bending Films That Explore Love in Unconventional Ways

    14 Powerful Genre-Bending Films That Explore Love in Unconventional Ways

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    Explore the world of love through a variety of lenses. Here’s a collection of powerful films that each portray love and romance in a unique way, spanning multiple genres including drama, comedy, fantasy, animation, and sci-fi.

    “Cinema is a mirror by which we often see ourselves.”

    Alejandro Gonzalez Inarritu


    Movies give us the opportunity to explore major themes in life in a meaningful and profound way.

    A powerful film can lead to a better understanding of your own experiences. It can communicate thoughts and emotions that may have been challenging to express; and, at times, completely reshape our perspective on life.

    For better or worse, movies play a pivotal role in shaping our beliefs and map of reality. We pick up ideas through films, sometimes absorbed at a very young age, and those ideas find their way into our daily lives influencing our choices and perspectives.

    Filmmakers understand the transformative power of cinema, purposely using it to shake up people’s consciousness. The goal of a solid film is to create an experience that leaves you a different person by the end of it.

    As viewers, it’s essential to be aware of a film’s effects both emotionally and intellectually. Often, the movies that linger in our thoughts long after watching are the most impactful and life-changing.

    Here’s a collection of classic films about love and romance. Each movie has had a lasting influence on audiences in one way or another. It’s an eclectic list that spans multiple genres, including drama, comedy, animation, fantasy, mystery, and sci-fi.

    Titanic (1997)

    James Cameron’s epic tale blends love and tragedy against the historical backdrop of the Titanic’s sinking in 1912. The film weaves a captivating narrative of a forbidden romance blossoming amidst a natural disaster.

    Eternal Sunshine of the Spotless Mind (2004)

    In this mind-bending story, a man attempts to erase the memories of a lost love using cutting-edge technology, only to find fate conspiring to bring the couple back together repeatedly. The film explores the complexities of memory, love, and destiny.

    Beauty and the Beast (1991)

    Disney’s classic adaptation of the French fairy tale is celebrated for its beautiful animation and memorable songs. The film goes beyond appearances, illustrating the transformative power of true love.

    Her (2013)

    Set in a near-future world, “Her” tells the unconventional love story of a lonely man who forms a deep connection with his computer’s operating system. The film delves into themes of technology, loneliness, and the nature of human connection.

    Before Sunrise (1995)

    Richard Linklater’s film follows two young tourists who meet on a train in Europe and share an unforgettable night in Vienna. The movie explores the transient nature of connections and the profound impact of brief encounters.

    Lost in Translation (2003)

    Sofia Coppola’s film features a washed-up American celebrity and a young woman forging an unexpected bond in Tokyo. “Lost in Translation” navigates themes of loneliness, connection, and self-discovery.

    Cinema Paradiso (1988)

    An Italian filmmaker reflects on his past and learns how to channel his love in a different and creative way through his art and craftsmanship.

    Past Lives (2023)

    Two childhood friends reconnect after years apart, seeking to unravel the meaning behind their enduring connection. The film explores the complexities of friendship, time, and shared history.

    Check out: In-Yeon: Exploring “Past Lives” and Eternal Connections

    The Lobster (2015)

    Set in a dystopian future, “The Lobster” challenges societal norms by presenting a world where individuals must choose a romantic partner within 45 days or face transformation into an animal. The film satirizes the pressure to conform in matters of love.

    Annie Hall (1977)

    Woody Allen’s classic romantic comedy is a hilarious and heartfelt movie that explores neurotic love and the psychological obstacles we commonly face in marriage and long-term relationships.

    Your Name. (2016)

    A masterful anime that combines elements of science fiction, fantasy, and romance. It centers on a mysterious connection between a boy and girl who swap bodies, learn about each other’s lives, and search to find each other in real life.

    A Woman Under the Influence (1974)

    John Cassavetes’ uncomfortably raw and dramatic portrayal of the profound impact of mental illness on marriage and family, navigating the complexities with unflinching honesty.

    The Fountain (2006)

    Darren Aronofsky’s “The Fountain” explores love and mortality through three interconnected storylines spanning different time periods. The film delves into themes of eternal love and the quest for immortality, providing a visually stunning and emotionally resonant experience.

    Scenes From a Marriage (1974)

    Legendary director Ingmar Bergman’s deeply incisive and detailed chronicle of a rocky marriage’s final days.

    Choose one movie and analyze it

    Each of these films offers a different perspective on love while also pushing the boundaries of cinema and story-telling.

    It’s fun to compare each story: How did the couples meet? What defined “love” for them? What obstacles did they face? Did the relationship work out in the end or not? Why?

    Exercise: Choose one movie from the list that you haven’t seen before and do the Movie Analysis Worksheet (PDF).

    While films are often seen as just a source of entertainment or healthy escapism, they can also be an avenue for self-improvement and growth.

    The “Movie Analysis Worksheet” is designed to make you think about the deeper themes behind a film and extract some lessons from it that you can apply to your life.

    Watch with a friend and discuss

    If you don’t want to do the worksheet, just watch one of the movies with a friend (or loved one) – then discuss it after.

    Watching a film together is an opportunity to share a new experience. It can also spark up interesting conversations. This is one reason why bonding through movies is one of the most common ways we connect with people in today’s world.

    Which film will you check out?


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    Steven Handel

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  • Hollywood actors to end strike after agreeing tentative deal with studios

    Hollywood actors to end strike after agreeing tentative deal with studios

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    The months-long strike has crippled the entertainment industry, halting hundreds of films and television productions.

    Hollywood actors have reached a tentative agreement with major studios to end a months-long strike that has halted the production of hundreds of films and television shows.

    The Screen Actors Guild (SAG-AFTRA) said on Wednesday that its strike would end at midnight (08:00 GMT on Thursday) after negotiators reached a preliminary deal on a new contract.

    The group’s national board will consider the agreement on Friday, and the union said it would release further details after the meeting.

    Members of SAG-AFTRA walked off the job in mid-July asking for an increase in minimum salaries, a share of streaming service revenue and protection from being replaced by “digital replicas” generated by artificial intelligence (AI).

    The union’s negotiators reached the preliminary deal with the Alliance of Motion Picture and Television Producers (AMPTP), which represents companies including Netflix, Paramount and Walt Disney. There was no immediate comment from the alliance.

    Union team captains Romel De Silva and Brendan A Bradley pose with a symbolic cone as they celebrate the tentative agreement [Mario Anzuoni/Reuters]

    The breakthrough means Hollywood can ramp up to full production for the first time since May, once union members vote to ratify the deal in the coming weeks.

    The news spread rapidly across Hollywood, with celebrities expressing joy and relief.

    “Incredible! I’m so happy we were all able to come to an agreement. Let’s get back to work! Let’s go! I’m so stoked,” Zac Efron told reporters at a premiere of The Iron Claw.

    “PERSEVERANCE PAYS OFF!” wrote Oscar winner Jamie Lee Curtis on Instagram.

    SAG-AFTRA represents some 160,000 performers.

    While Hollywood’s top stars earn millions, many less well-known actors said it had become almost impossible to earn a decent living in recent years, as longstanding pay structures failed to keep pace with inflation and the rise of streaming services.

    When SAG-AFTRA walked out in mid-July, Hollywood writers were also on strike.

    It was the first time that the two unions had headed to the picket lines simultaneously since 1960 when actor (and future US president) Ronald Reagan led the protests.

    The writers’ union resolved their dispute in late September, saying they had secured “meaningful gains and protections for writers”.

    The industrial action forced studios to delay the release of big-budget films, including Dune: Part Two and the next instalment in the Mission: Impossible franchise, while broadcasters were forced to fill their schedules with re-runs, game shows and reality programming.

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  • Hollywood writers reach tentative deal with studios to end strike

    Hollywood writers reach tentative deal with studios to end strike

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    Hollywood’s writers union says it has reached a preliminary labour agreement with the industry’s major studios in a deal to end one of two strikes that have halted most film and television production for nearly five months.

    The Writers Guild of America (WGA) announced the deal on Sunday with the Alliance of Motion Picture and Television Producers (AMPTP), the group that represents studios, streaming services and producers in negotiations.

    The three-year contract agreement – agreed to after five marathon days of renewed talks by negotiators WGA and the AMPTP – must still be approved by the guild’s board and members before the strike can be declared officially over.

    The WGA, which represents 11,500 film and television writers, described the deal as “exceptional” with “meaningful gains and protections for writers”.

    “This was made possible by the enduring solidarity of WGA members and extraordinary support of our union siblings who joined us on the picket lines for over 146 days,” the negotiating committee said in a statement.

    There was no immediate comment from the AMPTP.

    The WGA settlement, while a milestone, will not return Hollywood to work as the SAG-AFTRA actors union remains on strike.

    The WGA members walked off the job on May 2 after negotiations reached an impasse over compensation, minimum staffing of writers’ rooms, the use of artificial intelligence and residuals that reward writers for popular streaming shows, among other issues.

    The writers strike immediately sent late-night talk shows and comedy sketch show Saturday Night Live into hiatus, and has left dozens of scripted shows and other productions in limbo, including the forthcoming seasons of Netflix’s Stranger Things, HBO’s The Last of Us and ABC’s Abbot Elementary, as well as films including Deadpool 3 and Superman: Legacy.

    The Emmy Awards were also pushed from September to January.

    Efforts to restart daytime talk shows without writers, such as The Drew Barrymore Show, collapsed this month in the face of criticism from striking writers and actors.

    At picket lines, protests took on the rhetoric of class warfare.

    Writers assailed media executives’ compensation and said working conditions had made it hard for them to earn a middle-class living.

    Executives at times fanned tensions.

    Disney Chief Executive Bob Iger, fresh from a contract extension that gave him an annual bonus of five times his base salary, criticised striking writers and actors as “just not realistic” in their demands.

    Iger subsequently struck a conciliatory note, citing his “deep respect” for creative professionals.

    The work stoppages took a toll on camera operators, carpenters, production assistants and other crew members, as well as the caterers, florists, costume suppliers and other small businesses that support film and television production.

    The economic cost is expected to total at least $5bn in California and the other US production hubs of New Mexico, Georgia and New York, according to an estimate from Milken Institute economist Kevin Klowden.

    Four top industry executives – Iger, Warner Bros Discovery CEO David Zaslav, Netflix co-CEO Ted Sarandos and NBCUniversal Studio Group Chair Donna Langley – joined negotiations this week, helping to break the months-long impasse.

    As with past writers strikes, the action is partly a response to Hollywood capitalising on a new form of distribution – and writers seeking their share of the newfound revenue.

    The 100-day strike in 2007-08 focused, in part, on extending guild protections to “new media,” including movies and TV downloads as well as content delivered via advertisement-supported internet services.

    This time around, a central issue is residual payments for streaming services, which writers said represented a fraction of the compensation they would receive for a broadcast television show.

    Writers also sought limits on AI’s role in the creative process. Some feared that studio executives would hand a writer an AI-generated script to revise and pay the writer at a lower rate to rewrite or polish it. Others expressed concerns about intellectual property theft if existing scripts were used to train artificial intelligence.

    Even as studio executives celebrated the end of the longest-running writers strike since 1988, it is only half the labour battle. The studios must still find a way to get actors back to work.

    SAG-AFTRA, representing 160,000 film and television actors, stunt performers, voiceover artists and other media professionals, walked off the job in July, the first time in 63 years that Hollywood faced a strike by two unions at the same time.

    At issue are questions of minimum wages for performers, protections against the use of artificial intelligence replacing human performances and compensation that reflects the value actors bring to the streaming services.

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  • AMC to charge more for good seats in movie theaters | Long Island Business News

    AMC to charge more for good seats in movie theaters | Long Island Business News

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    Middle seats at many U.S. movie theaters just got more expensive.

    AMC Theaters, the nation’s largest movie theater chain, on Monday unveiled a new pricing scheme in which seat location determines how much your movie ticket costs. Seats in the middle of the auditorium will cost a dollar or two more, while seats in the front row will be slightly cheaper.

    AMC said the pricing plan, dubbed “Sightline,” has already been rolled out in some locations and, by the end of the year, will be in place at all domestic AMC theaters during showings after 4 p.m.

    Seats classified as “standard sightline” will be at the regular price. If you want to pay less for the “value sightline” seats, you have to be a member of the chain’s subscription service, AMC Stubs.

    As movie theaters have attempted to recover from the pandemic, exhibitors have increasingly looked at more variable pricing methods. That’s included charging more for sought-after movies like “The Batman” in their first week of release.

    Last weekend, Paramount Pictures partnered with theater chains to offer slightly reduced ticket prices for the comedy “80 for Brady.” And last year, during a dry spell in theaters, tickets at most movie theaters were $3 for “National Cinema Day.”

    But in most circumstances, movie tickets are getting more expensive, especially when factoring in large-format screens and 3D showings. The average 3D premium format ticket for the biggest box-office hit in recent years, “Avatar: The Way of Water,” was about $16.50.

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    The Associated Press

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  • Protesters call for cancellation of ‘revisionist’ Serb film

    Protesters call for cancellation of ‘revisionist’ Serb film

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    Protesters are calling for screenings of a new documentary by a Serbian-Canadian filmmaker to be cancelled across Europe, saying the “revisionist” film “whitewashes” war crimes committed during the Bosnian War.

    Film director Boris Malagurski announced last month on Twitter the schedule of screenings of his film Republika Srpska: The Struggle for Freedom. Malagurski has worked as a correspondent and host for Russian state media channels RT and Sputnik Serbia.

    Republika Srpska became a Serb-run entity in Bosnia and Herzegovina with the signing of the Dayton peace agreement in 1995, which ended the war in Bosnia.

    From 1992 to 1995, Serb forces led a campaign of ethnic cleansing with a goal of creating a Greater Serbia.

    The most notorious case of their war crimes was in Srebrenica, where in 1995, Serb forces under the command of convicted war criminal Ratko Mladic, killed more than 8,000 Bosniak men and boys over the course of a few days. International courts ruled the massacre constituted genocide.

    The Canada-based Institute for the Research of Genocide launched an online petition to stop the promotion of the film, saying it “revises the painful history of Bosnia”. It has gathered nearly 30,000 signatures.

    “The film promotes the denial of the genocide in Srebrenica,” the institute said in a statement on Saturday. “… It promotes the idea of ​​Greater Serbia, which is constantly tearing Bosnia and Herzegovina apart.”

    “And it tries, by all means, to show that Bosnia and Herzegovina is a failed state, promoting the independence of the Rebublika Srpska entity and its unification with Serbia,” it said.

    Campaign leader Georgio Konstandi told Al Jazeera that six days of screenings have so far been cancelled in 19 cities in Austria, Switzerland, Slovenia, Germany, the Netherlands, Luxembourg and Belgium.

    “[Malagurski’s] film trailer clearly frames the founding of a genocidal regime as a ‘struggle for freedom’ and a fight against ‘slavery’” Konstandi said. “We would not accept such gross whitewashing of any other genocidal regime.”

    “Why should the Bosnian people, who were tortured, massacred and raped by the Republika Srpska authorities, be expected to put up with it?” he asked.

    Malagurski told Al Jazeera that the documentary filmed scenes in Srebrenica and noted “the International Criminal Tribunal for the Former Yugoslavia [ICTY] in the Hague concluded, in its verdict, that ‘what happened in Srebrenica constituted genocide,’ in no way negating that fact”.

    “It talks about the Serbs’ turbulent history under various empires of the past, but in no way avoids talking about the crimes Serb forces committed during the war in Bosnia in the 1990s,” he said.

    “However, none of the mentioned organisations asked to watch the film before engaging in an aggressive campaign to ban the film, in the ‘cancel culture’ manner of the times we live in,” Malagurski added.

    Last week the Sarajevo Mayor Benjamina Karic addressed the mayor of Salzburg, Austria, in a letter, alerting him of the film serving as “propaganda”. The screening was later cancelled.

    The campaign has spurred lobbied people outside the Western Balkans to also comment. On Saturday, Alaskan standup comedian Chelsea Hart posted a TikTok video of the issue, writing “Fascism is making a comeback in Europe.”

    Rulings by the ICTY, including the conclusion that the massacre in Srebrenica constituted a genocide, are regularly denied by Serb politicians in both Bosnia’s Republika Srpska and Serbia, including Banja Luka’s Mayor Drasko Stanivukovic, who welcomed the film’s premiere in Republika Srpska this month.

    The city of Banja Luka reportedly financed $15,000 for the production of the documentary.

    Bosnian Serb leader Milorad Dodik has for the past 15 years been leading a campaign for the Republika Srpska entity to secede and join Serbia.

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  • Parenting 101: 5 Tips for planning a perfect Disney vacation

    Parenting 101: 5 Tips for planning a perfect Disney vacation

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    It’s the most magical place on earth, but for some it’s an overwhelming destination. The reality of modern day vacationing at Walt Disney World in Orlando, Florida, is that it requires proper planning. I’ve decided to compile a list of what I feel are the top 5 planning tips to ensure that you get the most out of your Disney vacation.

    1. Research. Walt Disney world is very big, with 25 resorts, four theme parks, two water parks and a large outdoor shopping and dining complex. The first step to planning a Disney vacation is visiting the Walt Disney World website. Here you will find everything you need to plan a trip that suits your family. Check out the resorts, look over what each park has to offer, and read over the restaurant menus. Everything you need to know about Disney World can be found on their site.

    2. My Disney Experience. Once you’ve booked your trip, download the My Disney Experience app and create an account. This app is the most handy tool to have on hand when on Disney property. After linking your resort and tickets on the app, you will be able to book your dining reservations and fast passes. Explore the app so that you are familiar and comfortable with it by the time your trip arrives.

    3. Join Disney groups. If you, like most people, are on social media, join a Disney group or two. These groups are full of Disney fanatics who are more than happy to dish out advice and opinions on all things Disney. By joining a group, you can narrow down which restaurants you’d like to visit and which rides you should book fast passes for.

    4. Book those ADR’s and Fast passes. Advance Dining Reservations can be booked up to 180 days in advance. Many of the more popular restaurants do in fact fully book up within minutes of that booking window opening up (7am EST). Every guest is allotted three fast passes per day that can be booked 60 days in advance (if staying offsite it’s 30 days). Popular rides, such as Flight of Passage at the Animal Kingdom, can have wait times of over four hours, so you will be happy that you woke up early to book those fast passes!

    5. Down time. Schedule one day for down time. You will need a day to recharge your batteries. All Disney resorts offer a wide variety of activities throughout the day that are definitely worth checking out.

    Bonus Tip: go with the flow and have fun! Sometimes all our planning suddenly goes out the window and you need to improvise. Perhaps a ride goes down, or you underestimated travel time, or everyone is too tired to go along with the daily plans. Whatever comes up, remember that you are at the happiest place on earth, so go with the flow!

    Up next: Which Disney resort should I pick?

    Meredith is a Disney obsessed stay-at-home mom. When she’s not planning a trip, you’ll find her with her nose in a book. Follow her on Instagram.

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  • Supermom In Training: Our master summer wish list

    Supermom In Training: Our master summer wish list

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    What’s on our summer wish list? Oh, lots of things! I’ve kept a list going on my phone for the last few weeks, so when we’re looking for something to do, or I hear the dreaded kid-words “I’m bored,” I’m ready!

    Visit the Botanical Gardens 

    Go to Chambly Fort

    Day at Ile Saint Bernard

    Beach day(s) at Cote Ste Catherine Beach

    Voiles en Voiles

    Rent paddle boats at Old Port 

    Visit Douglass Beach 

    Keep a summer journal. Write and draw in it, put keepsakes, put photos 

    Trace our family tree

    Create a fundraiser 

    Open a store and sell something homemade

    Build a bike ramp 

    Have a coloured water gun fight in white t-shirts 

    Play tennis 

    Game of mini golf 

    Geocaching 

    Scary movie night 

    Flashlight tag

    Cook-off contest, much like a reality cooking show 

    Make-your-own drink bar with juices, fruits, fun straws, etc.

    Make a music video

    Invent a product, come up with a slogan and make a commercial 

    Paint rocks and hide them 

    Make an escape room 

    Eat in the pitch dark

    Make homemade ice cream 

    PJ Day

    Christmas in July 

    Family talent show with Zoom 

    Video games in the backyard with friends 

    Movie night in the backyard with friends 

    Swap day: Kids are the adults and the adults are the kids

    Yes Day

    A full-time work-from-home mom, Jennifer Cox (our “Supermom in Training”) loves dabbling in healthy cooking, craft projects, family outings, and more, sharing with readers everything she knows about being an (almost) superhero mommy.

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  • Live in an Actual Movie Theater? Social Apartments Make Wishes Come True in Tokyo, Japan.

    Live in an Actual Movie Theater? Social Apartments Make Wishes Come True in Tokyo, Japan.

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    Japanese developer Global Agents opened the first cinema-themed property in Japan.

    Press Release
    –


    updated: Nov 8, 2018


    TOKYO, November 8, 2018 (Newswire.com)
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    ​Japanese real estate developer Global Agents opened FILMS WAKO, a new shared apartment that features a fully functional movie theater in Wako, Saitama Prefecture, on October 20. The company has been rapidly expanding across Japan to respond to the growing demand for their new lifestyle accommodations, and FILMS WAKO is the first co-living apartment in Japan to feature an authentic home-experience on par in scale and design with an actual movie theater.

    Global Agents endeavored to create a unique property that could connect all 123 residents through a central theme. Interaction is a core ideal that serves as the foundation for each of the company’s properties, but they ultimately decided on cinema for FILMS WAKO because of its near-universal appeal and ability to connect people on an emotional and artistic level. The result is perhaps their most focused and grand offering yet.

    This was certainly our most ambitious and challenging project yet. We wanted to push the market forward and offer a truly new and unique experience to our tenants.

    Takeshi Yamasaki, CEO of Global Agents

    They have made the dream of having an actual cinema at home a conceptual reality. The centerpiece of the property is a 40-square-meter theater space with 16 industry standard movie seats, the same ones found in new high-end movie theaters. Also, sporting an enormous 150-inch screen coupled with an industrial grade 4K EPSON projector and a 7.1 channel JBL surround sound system, the experience has never been more real. Residents also have access to 4K Apple TV, a PS4 Pro and are able to connect their own electronic devices to watch any film they like or use the space for gaming as well. In the digital age where people enjoy films and videos in the comfort of their own home, they created a new way to watch films in privacy while maintaining a real cinema experience.

    In addition, the main lounge space is a staggering 120 square meters and showcases a kitchen counter modeled after a cinema ticket booth while the walls feature artworks with quotes from famous movies. Residents can also socialize around the billiard table or one of the many video game consoles available. Other shared facilities include a spacious Working Lounge with free Wi-Fi for studying or working at home, and a Fitness Studio, ideal for yoga enthusiasts, dancers, or just anyone trying to fit a workout into their busy schedule. Another new and unique feature available in the property is the Photo Studio. With studio lights and a white backdrop free to use, this is the perfect place for the many artists and creators living at Social Apartment to unleash their creativity.

    FILMS WAKO is Global Agents’ second and biggest property in Wako with 123 available rooms. Wako itself is an up-and-coming area in Tokyo-adjacent Saitama Prefecture that offers convenient and direct access to the popular inner suburbs of Tokyo. It only takes 13 minutes to get to Ikebukuro and 24 minutes to Shibuya from Wakoshi station.

    Global Agents CEO Takeshi Yamasaki notes, “This was certainly our most ambitious and challenging project. Not only finding a theme that could appeal to everybody, but we also wanted to push the market forward and offer a truly new and unique experience to our tenants. Well, we’ve made it! We are the first in Japan to do it. We’ll always keep pushing forward boundaries of social lifestyle accommodations. We strive to create unique spaces that facilitate dialogue and exchange among our residents. We are not just looking to fill rooms, but to create genuine communities inside of our properties. That’s what separates us from the rest.”

    Global Agents’ Social Apartment brand is the leading lifestyle accommodation in Tokyo. They currently have plans to open several new properties and hotels across Japan in 2019, and currently planning to expand overseas in a very close future.

    Source: Global Agents

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