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Netflix s new documentary tells the story of the world s biggest porn website | JOE is the voice of Irish people at home and abroad

Titled Money Shot, the streamer says the documentary will explore how Pornhub fundamentally changed how pornography is made and distributed.

Gone by December: Nine must see movies leaving Neon this month

Gone by December: Nine must see movies leaving Neon this month
stuff.co.nz - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from stuff.co.nz Daily Mail and Mail on Sunday newspapers.

Dispatch from Tribeca #2 (2022): Stranger at the Gate and An Act of Worship

Dispatch from Tribeca #2 (2022): Stranger at the Gate and An Act of Worship
brightlightsfilm.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from brightlightsfilm.com Daily Mail and Mail on Sunday newspapers.

Neon CEO Tom Quinn on the Oscar Prospects for Palm Springs and Cinema Starting in the Theater

Skip to main content Neon CEO Tom Quinn on the Oscar Prospects for Palm Springs and Cinema Starting in the Theater Clayton Davis, provided by FacebookTwitterEmail Oscar voting is wrapping on Wednesday, but it  ain’t over ’til it’s over. Film distributor Neon, the reigning champion at the Academy Awards for best picture with “Parasite,” has another stack of contenders this year, all unique in awards discussions. CEO and co-founder Tom Quinn has always pushed the boundaries of cinema, and deeply believes in cultural representation in front and behind the camera, and the way consumers and Academy voters accept the film medium.

The Curve and the first wave of pandemic documentaries

There’s no handbook for making a feature documentary in just seven months during a global pandemic. No reference guide. No field manual. Just the typical headaches of movie-making, with a whole bunch of new headaches added for good measure. Throw in the fact that the subject of the film would be the pandemic itself, and take away any institutional funding or support, and things veer into migraine territory pretty damn quickly. Adam Benzine © Photo by Alison Boulier In the spring of 2020, I began work on The Curve, driven by a feeling that America’s handling of the coronavirus crisis needed to be documented in real time. It was apparent, even back then, that we were witnessing a landmark catastrophe which would likely produce hundreds of films for decades to come.

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