Monte Carlo Film Festival Wed, 15 Sep 2021 23:40:11 +0000 en-US hourly 1 Monte Carlo Film Festival 32 32 The CSUSM School of the Arts returns with in-person and online events Wed, 15 Sep 2021 23:33:35 +0000

An overview of the fall 2021 events of the School of the Arts of the CSUSM

As CSUSM begins to shift to traditional online learning, School of Arts departments such as Theater Arts are slowly shifting to in-person performances and events. In-person performances provide more opportunities for actors to gauge audience reaction and connect with an audience. However, the majority of events still take place online, allowing many students to participate in events from the comfort of their own homes. These are the events that take place this semester from this edition

Arts and Conferences Series CSUSM

“Staying Safe When Relationships Go Digital”: This event is hosted by the Arts and Lectures series and features Adam Dodge. The event shows how, even though the majority of dating has gone digital, domestic violence and harassment still exists, even within a digital platform. The event will take place on October 5 at 6 p.m. via Zoom.

“Global Movements for Social Justice”: This event features Dr Antonio De La Garza, Henry Edward Frank, Dr Meshack Simati and Dr Darren Byler. Each speaker comes from a different cultural background, sharing their experiences as advocates for social justice. This event takes place on October 14 at 12:00 p.m. via Zoom.

“Tell Them Where You’re From: Teaching Our Lives / Stories”: This event features Dr. Irene Sanchez, Professor of Ethnic Studies at UC Riverside as well as the Azusa Unified School District. Dr Irene Sanchez stresses the importance of showing how history impacts the lives of students and the importance of inspiring younger generations to want to participate in social change and justice. This event takes place on October 19 at 6:00 p.m. via Zoom.

“Chola Vida: Homegirls Navigating the Barrio to Academia”: Chola Vida is an organization that supports women who are actively or formerly in gangs and encourages each other to attend college. In this event, Chola Vida will draw attention to the often overlooked narrative of women in gangs. This event takes place on October 19 at 6:00 p.m. via Zoom.

“Rythmic Ancestries: Film Screening with Choreographer / DJ / Curator Jose E. Abad”: This event highlights Jose Esteban Abad, an advocate for the LGBTQ + community through dance and music. Abad will screen three of their short films as well as a Q&A. This event will take place on November 1st at 2:00 p.m. via Zoom

“Deported”: this is the screening of a short film entitled “Deported” by filmmakers Rachelle magloire and Chantal Regnault. The film explores deportation from the perspective of those who grew up in the United States and suddenly have to leave it all behind. The event will also feature Magloire, the director of the film, and Guerline Jozef, an immigration activist. This event takes place on November 17 at 5:30 p.m. via Zoom.

Credit for information on these events goes to CSUSM Arts and Lectures Series. To learn more, visit their website at

CSUSM Literature and Writing Studies

Community and World Literary Series: “Black Took Collective Event”. This event is a performance by Black Took, a group of black LGBTQ poets who focus on exploring race, gender and sexuality with experimental performances. Black Took uses dance, poetry, film and writing to engage in conversation with his audience. The event will take place via Zoom on December 9 from 6 p.m. to 8 p.m.

Credit for the information for this event belongs to the Department of Literature and Writing Studies at CSUSM.

Many other departments have yet to announce other performances and events for the fall semester 2021, be sure to stay up to date on each department’s website, as well as with the Cougar Chronicle for more. School of the Arts events.

The Cougar Chronicle: The Independent Student News Site at California State University, San Marcos

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JU prof’s “Deep 6” Comes to Busan Film Festival | Calcutta News Wed, 15 Sep 2021 23:25:00 +0000 Calcutta: A Bengali film set in 2011, as the state was undergoing political change, was shortlisted in the non-competitive “A Window on Asian Cinema” section of the 26th Busan International Film Festival (BIFF). ‘Deep 6’ by Madhuja Mukherjee, as well as ‘Shankar’s Fairies’ by Irfana Majumdar and ‘The Road to Kuthriyar’ by Bharat Mirle, are the three Indian films selected in this section of the BIFF to be held from October 6 to 15. this cast of ‘Deep 6’ is Soumitra Chatterjee, who plays the voice of reason.
Many films made by directors from Kolkata have been shown at renowned international film festivals this year. Aditya Vikram Sengupta’s Bengali film “Once Upon a Time in Calcutta” was in competition in the Orizzonti section of the recently concluded 78th Venice International Film Festival. While Aparna Sen’s ‘The Rapist’ is one of seven nominees for the Kim Jiseok Award at BIFF, ‘House of Time’ by Rajdeep Paul and Sarmistha Maiti is competing in its New Currents section. According to Mukherjee, “International dialogues continue even as we sit in our individual corners and reimagine the world around us. These selections allow us to make films that present international topics.
‘Deep 6’ is the story of a journalist who strives to change things that seem fossilized. In the middle of her daily tasks, she takes a liking to her young colleague. As they begin to date, her colleague faces growing bigotry as the reporter goes through a personal crisis. His former partner is back as he would not let go of the relationship or their failed political dream. “In the film, the staff meet the political, and the realism turns to horror,” said the director, who is a professor of film studies at the University of Jadavpur.
Shot through the city by Avik Mukhopadhayay, the film has a dense soundscape by Shomi Chatterjee and music by Prabuddha Banerjee. The cast includes Tillotama Shome, Chandan Roy Sanyal, Sumeet Thakur, Maya Ghosh and Sumanta Mukherjee. “Soumitra Chatterjee appears in an iconic scene. He had dubbed for my film the day the lockdown was announced, ”Mukherjee said. Source link

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California’s $ 330 Million Incentives Not Enough, Independent Producers Say | Characteristics Wed, 15 Sep 2021 22:55:06 +0000

Weeks after the governor of California made available an additional $ 330 million in tax incentives for at least the next two years, independent producers are still unimpressed with a system they say does not go far enough. to support the community. The government’s strengthening of the 3.0 $ 1.55 billion Film and Television Tax Credit program, which was introduced last year and allocates $ 330 million annually for the next five fiscal years through ‘in 2025, headlines. However, Senate Bill 144 passed in July by Democratic Gov. Gavin Newsom – who was eager to win Hollywood favor as he approached his victory in Tuesday’s recall election that threatened to oust him from office. functions – is designed to attract and maintain top-budget TV productions and features such as HBO Westworld and Sony’s action thriller Brad Pitt High-speed train, both of which benefited from tax credits.

A large community of independent filmmakers in California have grown accustomed to using other incentive programs across North America due to inadequacies in their own state. The 3.0 program administered by the California Film Commission has some money in store for them, but it involves a complicated application process and is insufficient. The latest iteration of the state program reserves 8% or $ 26.4 million of the total annual allocation of $ 330 million to the self-employed, an increase from 5% or $ 16.5 million of the same. annual sum awarded under program 2.0.

Allocations below 3.0 are split between qualifying independent productions of $ 10 million or less, which have access to $ 15.84 million or 4.8% of the pie, and those over $ 10 million, which must share a share of $ 10.56 million or 3.2% of the total annual endowment. Projects with a budget of at least $ 1 million are eligible for a 25% transferable tax credit that applies to the first $ 10 million of eligible expenses. There is more than one allocation cycle for entity projects each fiscal year. January 2022 will be the next cycle and growers can expect a response around a month later. The commission decides who gets what based on the ranking of the employment ratio, a complex equation that determines which productions will create the most jobs, and therefore bring the state the most tax revenue.

Non-independent bias

The 3.0 program makes $ 115 million in tax credits or 35% of the pie available for non-independent studio and streamer functionality; $ 132 million or 40% of the total allocation to new television series, recurring series, pilots and mini-series; and $ 56.1 million or 17% for the relocation of television series. “As an independent producer, I can’t watch the California state program with any level of confidence that we’re going to get anything,” notes William Santor of producer-financier Productivity Media. “They want to be in the studio business, which I understand because they want to keep it there rather than going to Georgia or New York or Louisiana, but that doesn’t do anything for the independent sector.”

“The independent feature film tax credit is very different from the rest of the tax credits offered in that it is a transferable tax credit,” explains Michael Heimler, director of production and Black Bear Pictures finances. “It’s not a discount – you have to sell your tax credits at a reduced rate… It’s only really beneficial for independent productions to a very limited extent, whereas if you had to go to other places. like Georgia or Massachusetts or Toronto or Vancouver, you might be able to receive a much larger amount.

Even before an independent producer can get money by selling the tax credit at a discount to a lender like Three Point Capital or Forest Road (who act as brokers and transfer the credit to a buyer who will use it to reduce his tax payable), he must go through the long process of developing a budget plan and applying for credit. As an award-winning independent film producer, there’s little motivation to spend a lot of time doing this when the larger independent production companies with more resources can submit a handful of projects, see what sticks and “take advantage of the. tax credits ”.

“We work with states like Oklahoma, North Carolina, and New Mexico; you submit an application, it takes them four to six weeks to turn it over, then you go through a process to make sure it meets their state guidelines and go over budgets and schedules, ”says Keith Wells, based in California, number 11 Entertainment.

“What’s different with California is that you have to plan the shoot a year, a year and a half in advance before you even submit the application. This means that you have to lock in talent early on, which if you do it far, usually means agents want a deposit or something like that to retain talent. So for small indie films it doesn’t work.

Wells would like to shoot his action movie Wild forest in the state he lives in but has looked further. “There is a lack of interest in having a robust tax incentive usable for independent films,” he comments.

Arclight Films chief financial officer Brian Beckmann says that while he applauds the state’s efforts, it doesn’t make much of a difference for independent filmmakers. “Sure, there will be a slight increase, but the percentages and the way they go about it just isn’t as competitive as some of the other states, as well as other countries. With federal and state tax credits in Canada, it’s almost more profitable to just cross the border.

California Film Commission executive director Colleen Bell said efforts have been made to ensure independent productions get the help they need. Thirteen independent feature film projects from 23 films just awarded in the July cycle include $ 2.5 million in tax credits for Poolman by Barry Linen Productions and $ 262,000 for Deadly Instinct’s Bad death. Major projects like Universal’s untitled Jean-Marc Vallée project will receive $ 17.3 million, while Netflix will receive $ 15.8 million for the cop from beverly hills 4.

“We recognize that the application process for independent filmmakers can be arduous as the application is complicated and requires staff and people familiar with developing these budget plans and understanding the rules,” Bell admits, adding that program staff understand. people who were former film and television producers.

“We work very hard to help all these productions and filmmakers who apply by supporting them throughout our application process. It is important that they feel that they are competing on an equal footing, and we want to give them a sense of confidence and certainty that they are doing so.

The production quarantine in Canada is lifted


U.S. growers look to head north in numbers as Canada loosens border restrictions and quarantine rules

The easing of Canada’s border restrictions with the United States and the rest of the world is the latest move that has boosted production in the country to such an extent that producers say it has become difficult to access crews and to the facilities. The federal government executive order that as of August 9 any fully vaccinated U.S. citizen or permanent resident can enter the country follows a July rule change that allowed U.S. talents and teams with exemptions from work to forgo a 14-day quarantine that had been in place from earlier in the pandemic.

Producers say removing the quarantine will cut budgets by 10-30%. “We were waiting for that to happen,” says Brian Beckmann, CFO of Arclight Films, which is preparing for a Canadian shoot later this year. “Quarantine was a huge expense. It was complicated, whether it was visas or additional entry formalities, accommodation and working with talented agents.

XYZ Films founding partner Nick Spicer said the quarantine meant the company had put some productions on hold to avoid “a planning nightmare for actors and filmmakers.” However, he remained involved in all-Canadian productions. In contrast, Limelight filmed the thriller Naomi Watts and the world premiere of Toronto Lakewood in Ontario last summer after being quarantined.

Michael Heimler, head of production and finance at Black Bear Pictures, the Los Angeles-based company behind The Imitation Game and I Care A Lot, filmed The Marsh King’s Daughter in Toronto this year when all non-Canadian elements, including director Neil Burger and stars Daisy Ridley and Ben Mendelsohn had to endure quarantine.

More than 73% of the Canadian population is now fully vaccinated, according to Covid-19 Tracker Canada, and more than 75% in Ontario according to the latest data from CBC. Motivation to film in Canada is high – while remaining cautious amid the wave of Delta variants – due to the insurance support program, incentives and favorable exchange rate. “There are so many people everywhere because everyone is doubling production, taking this time to move forward. And consumption is at an all-time high, ”says Berry Meyerowitz, President of Quiver Distribution. “I don’t think Canada has slowed down at all. You will see more Americans come in.

Jeremy Kay

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The Old Globe will present HENRY IV, Part I with 2 MFA students Wed, 15 Sep 2021 20:55:24 +0000

The old globe will present Shakespeare’s Henry IV, Part I featuring students from The old globe and the University of San Diego’s Shiley Graduate Theater Program. Program Director and Distinguished USD Professor Craig Noel Jesse perez is running a cast of 12. The Limited Engagement will play eight performances only from November 12 to 19, 2021 in The old globe‘s House of Charm Rehearsal room. Located across from the Globe’s main campus and three stories below Balboa Park, this space is rarely open and seen by the public, yet it’s where world premieres have been developing for decades. Tickets go on sale Friday October 15. “

“Henry IV, Part I is one of the major works in Shakespeare’s canon, and his gallery of extraordinary figures is still a gold mine for a large number of classical actors,” said Erna Finci Viterbi Artistic director Barry edelstein. “This is what makes it an excellent choice for The old globe and the University of San Diego’s Shiley Graduate Theater Program. The comedians currently in training represent the future of classical acting on the American scene, and they will face the challenge of this extraordinary work with aplomb, showing us a glimpse of the direction our field will take in the times to come. Program Director and Distinguished USD Professor Craig Noel Jesse perez is a prolific and inventive performing artist, and he will guide this talented group to a memorable production. I can not wait to see it!”

Henry IV, Part I will be performed live by MFA students from The old globe and the University of San Diego’s Shiley Graduate Theater Program. The cast of 12 includes Henian Boone, Brett Cassidy, Jacqui Dupré, Savannah Faye, Komi M. Gbeblewou, Camilla Leonard, Becca Lustgarten, Jeffrey Rashad, Bernadette Sefic, Jude tibeau, Nathan VanAtta and Maggie Walters.

The actors of training in The old globe and the University of San Diego’s Shiley Graduate Theater Program bring Shakespeare’s epic tale of history, power, honor and family to life. Set in the unique surroundings of the Globe’s large open and rough rehearsal studios, this modern production brings Hal, Hotspur, Quickly and, yes, Falstaff, into the 21st century. A small company of 12 MFA actors conjures up an intimate experience that moves from the tavern to the battlefield, with laughter, poetry and drama throughout.

In addition to Henri IV, director of part I Jesse perez (MFA Program Director), the creative team understands stage design by Robin sanford roberts, costume creation by Elisa Benzoni, lighting design by Jason Bieber, sound design by Melanie Chen Cole, fight choreography by Ka’imi Kuoha, assistant conductor by Jersten Seraile, vocal and vocal coaching by Jan Gist, dramaturgy by Abraham Stoll and staging by Nicole Ries.

Henri IV, Part I will play at The old globe‘s House of Charm Rehearsal Hall at Balboa Park in San Diego (1439 El Prado) from November 12 to 19 for eight performances only. The schedule is Friday November 12 at 8:00 p.m. Saturday November 13 at 8:00 p.m. Sunday November 14 at 2 p.m. and 7 p.m. Tuesday November 16 at 7:00 p.m. Wednesday November 17 at 7:00 p.m. Thursday November 18 at 8:00 p.m. and Friday, November 19 at 8 p.m. Tickets go on sale October 15 and will be available at or by phone at (619) 23-GLOBE (234-5623). Regular tickets cost $ 10.00; students and Globe subscribers and donors are $ 7.00; and groups of 15 or more are $ 7.00.

All customers attending an event or show at The old globe will be required to wear masks during the visit, as well as show proof of COVID-19 vaccination or provide negative results from a COVID-19 PCR test performed within 72 hours of entering the theater. Additional details on The old globeThe COVID-19 policies are available here.

The main underwriter of Henri IV, part I is Darlene Marcos Shiley, with additional support from Maggie Acosta and Larry Shushan. Major subscription of The old globe and the Shiley Graduate Theater program at the University of San Diego is provided by Darlene Marcos Shiley. Additional support is provided by the Globe Guilders, the Dorothy Brown Endowment Fund and the Louis Yager Cantwell Foundation.

Financial support is provided by the City of San Diego.

Theodore and Audrey Geisel The Fund provides leadership support for The old globeactivities all year round.

Full casting details, along with biographies and portraits, will be released at a later date.

A joint venture of The old globe and the University of San Diego, the Shiley Graduate Theater Program nationally recruits seven students each year to participate in an intensive two-year, year-round, graduate course in classical theater. In 1987 The old globe and the University of San Diego has established a graduate program in theater. The result has been one of the most acclaimed classical training programs in the United States, receiving hundreds of applications each year. It has grown into one of the most competitive graduate actor programs in the country. Graduates of the program have made their mark in the profession. They have performed extensively on and off Broadway, in regional theaters, in feature films and on television. They have also founded successful theater companies, written award-winning plays and scripts, and have performed across Europe and Canada. A notable graduate is Jim parsons, the star of “The Big Bang Theory”, winner of a Golden Globe and an Emmy Award.

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Backcountry riders plan work on Lake Como Mon, 13 Sep 2021 21:29:46 +0000

The season of Bitter Root Back Country Horsemen (BRBCH) projects is drawing to a close. This week, volunteers will help Bitterroot National Forest with maintenance and improvement work at Rock Creek Horse Camp near the Lake Como Dam.

Crews and their livestock will be at the horse camp on Thursday and Friday, September 16 and 17, and plans include replacing fire rings and picnic table planks, spreading new gravel, and a general clean-up of the camp site. The work will be carried out by combined teams from the BR Back Country Horsemen and the Bitterroot National Forest.

Funding for this particular project comes from the Great American Outdoors Act of 2020, which is part of the National Parks and Public Legacy Restoration Fund. It was created to make up for certain priority deferred maintenance projects. Bitterroot National Forest received nearly $ 2 million for various improvements. Some of the campgrounds have included Charles Waters, Sam Billings, and Indian Trees Campgrounds.

Bitterroot hinterland riders are busy every year in the Bitterroot Forest. This summer, work included work on the main East Fork Trail near the East Fork Guardhouse in the Sula Ranger District, the Blodgett Creek Trail west of Hamilton, the Coyote Coulee Loop Trails south of Hamilton, and resupply trips to St. Mary’s Lookout west of Stevensville.

Each year, they devote around 600 personal hours and over 400 inventory hours to projects, and have been doing so for decades. The Chapter was one of the first groups of backcountry horsemen in the United States, starting in 1976. The Bitter Root Backcountry Horsemen will have their monthly reunion on Thursday, September 16 at the Corvallis School cafeteria on Eastside Highway in Corvallis at 7pm. need to own a horse or mule to be part of the group. Learn more about them on their website.

Popular childish stars of each year

Below, Stacker Sifted through movie databases, movie stories, celebrity bios, and digital archives to compile this list of popular pint-sized actors from 1919-2021.

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Evangelion: each pilot of Eva, classified by skill Sat, 11 Sep 2021 19:12:14 +0000

The Neon Genesis Evangelion The franchise is one of the best known and most influential mecha anime of the genre. He is recognizable for his unique designs for Eva and Angels units, as well as for his deep exploration of philosophical themes. Many also flock to its likable characters and the intrigues that surround them.

RELATED: 10 Depressing Mecha Anime That Aren’t Neon Genesis Evangelion

Between the original television series and the Reconstruction of Evangelion movies, there are many Eva pilots of different skill levels. Some excel at their jobs, others fall apart. On top of that, some of the show’s most iconic characters are completely different in the show and the movies.

Warning: this listing contains big spoilers for the original Neon Genesis Evangelion and The end of Evangelion, as good as Reconstruction of Evangelion movie theater.

6 Toji Suzuhara fails as a pilot

Evangelion Toji watching during a sunset

In the original series and Rebuild movies, Toji Suzuhara is portrayed more as a tyrant than someone the audience wants to root for, as he punches Shinji in the face quickly. However, after witnessing what Shinji goes through while piloting an Eva, he quickly changes his tone and the two, along with Kensuke, become good friends.

However, the films diverge from Toji’s original screenplay. In the series, Toji is selected as Eva’s fourth pilot and is assigned to Eva Unit-03. Unfortunately, things go very wrong, very quickly, as the unit is possessed by an Angel and goes on a rampage. Shinji is sent to Unit-01 to fight the Angel, not knowing who is inside the input socket.

Shinji refuses to attack the Eva, not wishing to harm another human. His father has other plans and immediately takes manual control of Unit-01 and destroys the creature. Toji is seriously injured in the battle, and his fate is ultimately unknown as he no longer appears physically in the series.

Although Toji does not pilot any Eva units in the Rebuild series of films and his inability to control Unit-03 is not his fault, he is by far the least skilled pilot. After all, he has no experience and never even gets the chance to try piloting.

5 Kaworu Nagisa is not who he says he is

Evangelion Kaworu looks at the camera with Earth in the background

Kaworu Nagisa’s character is similar in both the original anime and the Rebuild series in that it is later revealed that he is, in fact, an angel in human form. That and his relationship with Shinji are pretty much the only things the two versions of the character have in common. In the animated series, Kaworu is chosen as the fifth child and must pilot Unit-02 while Asuka recovers.

Although he technically never flies an Eva, he is still able to control Unit-02 and have her fight Shinji so Kaworu can achieve what he believes to be Adam. However, after finding out that this creature is Lilith, he asks Shinji to kill him. He is reluctant at first but follows up on Kaworu’s final request.

In the Rebuild films, Kaworu and Shinji together pilot the Eva Unit-13 in pairs. Gendo asks the two to remove a spear from Lilith. Kaworu hesitates, but Shinji insists on completing his mission. Asuka, Mari, and Kaworu all try to stop him, but Shinji inadvertently causes the fourth impact by withdrawing the spear. Kaworu forces their Eva to stab herself, then dies from an explosive neck strap around her throat.

While Kaworu’s driving prowess isn’t particularly impressive in either movie, his ability to keep control of any Eva makes him a fairly skilled pilot.

4 Shinji Ikari is an imperfect pilot

Shinji of Evangelion

As the protagonist of the entire franchise, you would expect Shinji Ikari to be the best Eva pilot there is. However, this is far from the truth. With his pacifist nature and inability to overcome his fears, he is a deeply flawed pilot in both the original series and the Rebuild movie theater.

RELATED: Neon Genesis Evangelion: 10 Things Everyone Is Wrong About Shinji

Shinji frequently disobeys orders and refuses to listen to those who care about him, often resulting in dire consequences, including the third and fourth impacts. Shinji has almost no restraint, and when things aren’t going his way, he often slips into a deep depression, during which he just sits there in self-pity.

However, Shinji quickly adapts to piloting the Eva Unit-01 and is even able to drive the machine crazy. Although he is not the most gifted pilot, he does demonstrate some skill.

3 Rei Ayanami was created for one purpose

Evangelion Rei in plugsuit with the moon in the background

Rei Ayanami is the first child and the first pilot of Eva Unit-00. While she is seriously injured when the audience is first introduced to her, she then shows great skill in piloting.

She uses a shield to protect Shinji from an angel attack, allowing her to successfully destroy him. She is also tasked with protecting Shinji and Kaworu in the third film and shows off her prowess in battling Mari and Asuka. While she is engaged in the fight against these two senior pilots, she is able to defend herself long enough for Gendo’s plan to succeed.

However, it is later revealed that she is so powerful because she is a clone of Shinji’s mother, which means that she was created specifically to be a good pilot. Despite this, Asuka and Mari display substantial natural skills when it comes to controlling their own Eva units.

2 Asuka Langley is naturally talented

Evangelion Asuka in Plugsuit stands confidently

Asuka is one of NERV’s most valuable assets, as she is one of their most skilled pilots. In the original series, Asuka Langley Soryu is extremely self-confident. During her first appearance, she meets Shinji, Misato, Kensuke and Toji aboard an aircraft carrier. The ship is attacked by an Angel, and Asuka does not hesitate to engage in Unit-02.

Although she is extremely brash and self-confident, she also carries a great deal of trauma and insecurity with her. This is shown by the way she practically stops when Shinji overtakes her later in the series. However, in the movie, The end of EvangelionAsuka regains confidence and flies Unit-02 once more, taking down nine mechs on her own. Unfortunately, this victory was short-lived as his Eva ran out of power soon after.

RELATED: Neon Genesis Evangelion: 10 Things Everyone Is Wrong About Asuka

In the Rebuild films, Asuka is first shown in a battle with an angel. Rather than needing Shinji’s help, Asuka Langley Shikinami takes down the monster on her own. She later fulfills the role Toji played in the original series, as she is selected as the pilot of Experimental Unit-03 which is possessed by an angel.

As the resulting battle puts Asuka off duty a bit, she returns stronger than ever and fights just as fiercely. On top of all this, she forces Shinji to confront his own mistakes and return to Misato aboard the Wunder.

Her skills in these films far exceed her abilities in the original series, as she frequently faces angels alongside Mari, and is even one of the last pilots standing during the decisive battle of the fourth film.

1 Mari Makinami is the most qualified pilot

Evangelion Close up of Husband smiling in front of the camera

Although Mari Illustrious Makinami does not appear in the original animated series, she is by far the most skilled pilot in the franchise. She demonstrates an unrivaled understanding of Evangelion units, going so far as to maintain control when activating a unit’s “beast mode”.

In the Rebuild movies, Mari is able to take down an angel while piloting Asuka’s Unit-02 as easily as she can while piloting her own Unit-05. She also later piloted Unit-08 to aid Asuka in her mission to rescue Unit-01 and prevent Shinji from inadvertently initiating the Fourth Impact.

In the final film, 3.0 + 1.0 Three times once upon a time, Mari and Asuka are the two leading the attack on NERV to stop Gendo. After Shinji restores the world without Evangelions, Mari lands his unit in the ocean in front of Shinji and comes out just before it ceases to exist.

They are later shown as adults at a Tokyo station and are the only two who remember everything that happened. Husband takes Shinji’s hand and leads him out of the station so the two can experience the new world together.

NEXT: NGE: 5 Ways End Of Evangelion Was A Perfect Endgame (& Why Three Times At A Time Is Better)

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Spanish film queen Penelope Cruz wins best actress award in Venice Sat, 11 Sep 2021 18:22:13 +0000

Published on: Amended:

Venice (AFP)

Penelope Cruz won the award for best actress at the Venice Film Festival, the latest success of the conquering queen of Spanish cinema.

Cruz won the award for his lead role in “Parallel Mothers”, his latest collaboration with legendary Spanish director Pedro Almodovar.

It was a surprisingly political turning point for the flamboyant filmmaker, exploring the trauma of the 1930s Spanish Civil War alongside the story of two mothers sharing a motherhood.

It marks a departure into dark historical territory for the director, while also focusing on the themes of motherhood and female relationships that have been central to many of his films.

Cruz described Almodovar as “my safety net” at a press conference ahead of their red carpet appearance in Venice.

“He can ask me to do something that can really scare me, but I know he will be there to support me,” she said, adding that she was grateful to the director for giving her “so much. different and stimulating characters “.

Cruz has appeared in seven of Almodovar’s films, including “All About My Mother” and “Volver”.

She’s had a busy fortnight in Venice, also starring in the much-loved “Official Competition,” a comedy about self-centered people in the film world that saw her in a rare appearance alongside her Spanish megastar Antonio Banderas. .

– Young talent –

Born in Madrid in 1974, she seemed destined for a career in entertainment, first studying ballet at the National Conservatory of Spain before winning an acting competition that led her to roles on television and in plays. music videos.

His debut in the cinema took place in “Jamon, Jamon” by Spanish director Bigas Luna in 1992, which was to critical acclaim and stood out for its erotic scenes featuring Cruz, 16, and Javier Bardem, who would become much later her husband.

This was just the latest in a series of collaborations with Almodovar Philippe MONTEFORTE AFP

This was followed soon after by “Belle Epoque,” ​​which won the Oscar for Best Foreign Film, and featured Cruz as one of four sisters vying for the love of an army deserter. .

The next step came in 1997, when she was chosen for her first Pedro Almodovar film.

“Live Flesh” marked the start of a ten-year collaboration between Almodovar and the actress that included roles in another Oscar-winning foreign language, “All About My Mother” in 1999.

– The struggles of Hollywood –

Cruz had difficulty establishing himself in the general public of Hollywood.

She achieved a rare but undesirable feat in 2001 when she received three Oscar nominations “Golden Raspberries” for “Captain Corelli’s Mandolin”, “Blow” and “Vanilla Sky”.

The latter hired her alongside Tom Cruise, with whom she ended up dating him for three years.

Other flops followed, notably “Gothika” and “Sahara”.

But she bounced back, netting an Oscar nomination for Almodovar’s 2006 film “Volver.”

And she made history when she became the first Spanish actress to win an Oscar in 2009 for her role in Woody Allen’s comedy “Vicky Cristina Barcelona”.

She was once again associated with Bardem in this film, triggering a romance that led to their marriage in 2010.

The fiercely independent Cruz is also wary of being typified simply for her striking physical beauty.

“The hardest thing in the world is to start a career known only for the looks and then to try and become a serious actress,” she said.

“No one will take you seriously once you get to know the pretty woman.”

burs-er / dd

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Global trade moves to the digital economy Sat, 11 Sep 2021 13:36:23 +0000

IF anything positive came out of the pandemic, it could be the accelerated transition to the digital economy. As mentioned earlier in this space, the health crisis has highlighted the weaknesses of our telecommunications infrastructure and underscored the urgency of developing quality Internet connectivity. But with quarantines still limiting travel, economic activities have moved to the digital sphere out of necessity and despite inadequate infrastructure.

The change is not only evident in domestic trade, but also in international trade. Singapore, for example, has digital economy agreements (DDAs) with Australia, New Zealand and Chile. This city-state is also negotiating a similar treaty with the European Union and the United Kingdom.

The photo shows non-essential establishments inside a mall in Fairview, Quezon City, which are still closed. PNA PHOTO / TMT PHOTO FILE

The Philippines should follow this example. According to a Singaporean government website, “Digitization and technological disruption, accelerated by the impact of the Covid-19 pandemic, has dramatically transformed consumer behaviors and business models and created new opportunities. For example, e-commerce has allowed manufacturers to reach consumers directly. He added: “Secure and transparent cross-border data flows are essential for the growth of the digital economy and to ensure that the interests of consumers are safeguarded.

With DEAs, Singapore hopes to harmonize its digital rules and standards with its treaty partners and facilitate interoperability between systems in signatory countries. The agreements also aim to support cross-border data flows and protect personal data and consumer rights.

For businesses, the agreements aim to reduce operating costs and increase efficiency. Among other things, the treaties will also allow electronic invoicing and facilitate small and medium-sized enterprises (SMEs) in transactions with foreign companies on digital platforms.

Of course, the Philippines is far too complex and different to resemble its neighbor city-state. But that doesn’t mean that policymakers and business leaders here can’t learn from their counterparts there. The point is, they should.

The future

The Philippines lags behind Singapore and a few of its other Southeast Asian neighbors in digitization, but in all fairness there have been improvements. According to a World Bank report, the number of Internet users in the Philippines has more than tripled, from 23 million in 2010 to 73 million in 2020. According to the report, Filipinos spend about 10 hours a day on the Internet, half of which with a cell phone. to log in.

“In economic terms, the share of the added value of the digital economy in the GDP (gross domestic product), in constant prices, increased from 7% in 2012 to more than 10% in 2018,” said the World Bank . “During the same period, the added value of the digital economy has shown double-digit annual growth, exceeding on average 13%.

As expected, the World Bank also cited factors delaying digitization in the Philippines. These include the high cost and uneven quality of the Internet, limited adoption of digital payments, expensive logistics, and a business environment with low levels of competition.

Some might argue that the Philippines has a lot of issues to resolve before pursuing a DEA or some other form of digital treaty. We do not agree.

Obtaining these treaties will push the Philippines to strive for higher levels of digitization, which, of course, requires public and private investment and political reforms. The acquisition of higher capacities will be necessary to do business with potential treaty partners.

In fact, the United States Chamber of Commerce had suggested that the Philippines negotiate a DEA with the United States. Incidentally, the United States already has a digital trade deal with Japan, covering products such as e-books, videos, music, software, and games.

In fairness, Congress is working on measures to make it easier to import some of these products, especially e-books, by exempting them from local taxes. But nothing substantial has been done to facilitate the exports of digital products from the Philippines.

Filipinos can compete globally not only in the export of eBooks, but also software, games, and animation. And given the growing number of local feature films on streaming platforms like Netflix, Filipino films could also benefit from digital trade deals.

As many have said, the future is digital. The Philippines should act quickly to avoid being further left behind.

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Watch the first official teaser for “Don’t Look Up” Wed, 08 Sep 2021 20:40:01 +0000

In the first seconds of the Do not seek first official trailer, Leonardo DiCaprio portrays all of our internal states as the world crumbles around us.

Dr. Randall Mindy (DiCaprio) hyperventilated in the bathroom, turning to the mirror to remember, “You are here now.” As his panic attack unfolds, we see footage of him working alongside Kate Dibiasky (Jennifer Lawrence) and get a brief glimpse of an extremely star-studded supporting cast that includes Cate Blanchett, Timothée Chalamet, Rob Morgan and Tyler Perry.

“Your breathing is stressing me out,” Jason Orlean (Jonah Hill) finally said during a meeting in the Oval Office with President Janie Orlean (Meryl Streep) to discuss something that, as Randall reminds Jason, “will affect the entire planet. “

“I know,” Jason scoffs, “but it’s, like, so stressful.”

What is so stressful? More stars scroll across the screen with anticipatory music playing in the background. Ariana Grande! Kid Cudi! Ron Perlman! Marc Rylance!

“There’s a comet heading straight for Earth,” Kate explains in the Oval Office.

“Do you know how many ‘the world is ending’ meetings we’ve had in the past two years? President Orleans retorts as his annoyed and clearly titled son rolls his eyes with a sigh.

“Drought, famine, hole in the ozone layer,” asks Jason. “It’s so boring.”

Deadline provided a more cohesive synopsis of the film:

“Kate Dibiasky (Lawrence), a graduate student in astronomy, and her professor, Dr. Randall Mindy (DiCaprio) make an astonishing discovery of a comet orbiting the solar system. The problem is on a collision course. direct with Earth. The other problem “Nobody really seems to care. It turns out that warning humanity of a planet killer the size of Mount Everest is an inconvenient fact to navigate. With the help of Dr Oglethorpe (Morgan), Kate and Randall embark on a media tour that takes them from the office of indifferent President Orlean (Streep) and her sycophantic son and chief of staff Jason (Hill) to the airwaves from The Daily Rip, an animated morning show hosted by Brie (Blanchett) and Jack (Perry) Just six months away from the comet’s impact, managing the 24-hour news cycle and grabbing the attention of obsessed audiences by social media before it’s too late is incredibly comical. “

Directed and written by Adam McKay, Do not seek has a theatrical release on December 10 before hitting Netflix on Christmas Eve. Watch the teaser below.

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Netflix Premieres Awards Hopeful Power of the Dog, The Lost Daughter Wed, 08 Sep 2021 19:37:00 +0000

Streaming platforms are gearing up for yet another attempt to win the affection of the Academy. While one streamer has yet to win the grand prize for Best Picture, Netflix has put together a solid list this year, at least judging by the reception at the Telluride Film Festival.

Saturday was the streamer’s big day, with Maggie Gyllenhaal’s directorial debut “The Lost Daughter” and Oscar-winning Jane Campion’s “The Power of the Dog” unveiled in North America. .

In the case of “Power,” Campion threw in the gauntlet and orchestrated the best film of her impressive career, even surpassing “The Piano,” for which she became the second woman to be nominated for directing. Judging from the reception, the film has performed quite well for festival goers and could be the ace of the hole for Netflix for awards season. If Campion is nominated for directing, she would be the first woman to return for a second name. Kathryn Bigelow was snubbed for “Zero Dark Thirty” (2012) after winning for “The Hurt Locker” (2009).

The legs of “Power” rest on the actors. Benedict Cumberbatch, who hasn’t been nominated since Morten Tyldum’s “The Imitation Game” (2014), appears to be in a good position to attempt his second name. His dominant and terrifying Phil Burbank scares those who meet him, and this is one of his strongest turns. Along with three other films this year – “The Courier,” “The Electric Life of Louis Wain” and “Spider-Man: No Way Home” – he will be splashed in the media landscape for his campaign.

It could also present a long-awaited chance for the Academy to finally name the talented Kirsten Dunst. After a breathtaking career that began with a snub for “Interview with the Vampire” (1994) by Neil Jordan, she delivered great performances in films like “The Virgin Suicides”, “Melancholia” and “The Beguiled”. If she campaigned to support the actress, voters might be ready to show their appreciation and gratitude for a long and impressive career. His co-stars Kodi Smit-McPhee and real-life partner Jesse Plemons are exquisite in their roles and divide their time in the film accordingly, with Plemons heavier in the first half and McPhee taking charge of the second.

Smit-McPhee, who began his Telluride journey in 2009 with “The Road” alongside Viggo Mortensen, is an invigorating presence in the film, emerging as a young Anthony Perkins. Plemons has the film’s line and could help Campion compete in an adapted script. It is not known which of the two men, if one or the other, will appeal to the Academy the most.

With one of Campion’s largest budgets, she makes every dollar count. Production design, cinematography, costumes, editing and sound are all on the table. Composer Jonny Greenwood could have a double mention himself in the Oscar nominations morning as he did the music for “Spencer” with Kristen Stewart, who also performed at the festival.

“The Power of the Dog” is now heading to Toronto and the New York Film Festival, where Netflix will aim to build on its momentum and solidify its status.

As for Gyllenhaal’s first feature film, the dense and heavy material showcases his talents as a filmmaker and storyteller. As we continue to see many of our talented actresses take the helm behind the camera – like Regina King (“A Night in Miami”) or later this year Halle Berry (“Bruised”) – it’s an exciting landscape for interesting stories to tell. Recount. “The Lost Daughter” could make inroads into the adapted screenplay, with its exploration of themes surrounding motherhood and society’s expectations of a woman’s place in it.

The cast is dynamic, with Oscar winner Olivia Colman (“The Favorite”) leading the charge. A year after nearly landing her second for “The Father”, she could once again be a competitive force. Similar to her winning turn in “The Favorite,” she’s not clearly a prime contender, especially if the plan is to campaign for her co-star Jessie Buckley, who plays the younger version of Colman’s character, in The Favorite. supporting actress category.

If people realize that Stewart left her “Twilight” days behind, then it’s time to move beyond the “Fifty Shades” series by discussing the gorgeous Dakota Johnson. As Bombshell Nina, she exudes confidence and vulnerability, causing her most demanding and electric turn to date. If Buckley campaigns to support, there could be a storyline that finds the two nominated women, which is not uncommon in the support categories. (“The Favorite” was nominated twice for Emma Stone and Rachel Weisz). Netflix will have to work its campaign magic to give it a fighting chance.

Netflix also has “The Hand of God”, the autobiographical film by Paolo Sorrentino, which directed the Italian international winner “The Great Beauty”, and his most recent could also remain in this category. It’s only been a year since Thomas Vinterberg fell in love with the lineup of “Another Round”, but Sorrentino’s feature film is a bit too bloated and insular to appeal to the award masses. The film tries to navigate macho characters and behaviors, which might be hard for American viewers to digest. The European public risks swallowing it.

Coming later this year, Netflix still has Adam McKay’s “Don’t Look Up” and “tick, tick… Boom! By Lin-Manuel Miranda. to potentially add to the mix of rewards season.

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