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Friday, 29 December 2017

Exclusive Look at Discovery’s ‘Manhunt: Unabomber’

By Chris Coffel

The Unabomber terrorized America for decades. This exclusive look at Discovery’s new series shows how he was eventually captured.

If you were alive during the 90’s you’re most likely aware of the story of Ted Kaczynski, more commonly known as the “Unabomber.” An American terrorist currently serving 8 consecutive life sentences in prison following a string of bombing attacks targeted at those working in modern technology, Kaczynski’s story began decades earlier in the late 70’s when he completed his first attack. His story reached its peak in the mid-90’s when he was finally apprehended and his identity was revealed.

Kaczynski’s story gained steamed not only because of the severity of his terrible actions but because of the hunt for him was at the time the most expensive and most prolonged in the history of the FBI. The story is also notable for the FBI’s use of profiling to track Kaczynski. James R. Fitzgerald was a young profiler working for the FBI at the time and was largely credited with cracking the case.

The case of Kaczynski is the subject of the new Discovery mini-series Manhunt: Unabomber. Paul Bettany stars as the notorious terrorist with Sam Worthington portraying Fitzgerald. The series is now available on Blu-ray and DVD and we’ve got an exclusive look at the release’s special features.

The clip features the real-life Fitzgerald giving a of insight into the world of FBI profiling with a specific focus on how he was able to decipher Kaczynski’s manifesto. If you have an interest in true crime this is one you’ll want to check out.

More to Read:

The article Exclusive Look at Discovery’s ‘Manhunt: Unabomber’ appeared first on Film School Rejects.

First Trailer for Dystopian Sci-Fi 'Virtual Revolution' Set in Paris 2047

Virtual Revolution Trailer

"Everyone wants freedom." A trailer has debuted for an indie sci-fi film titled Virtual Revolution, which first premiered in 2016 but is just now trying to get a release. The film also goes by the title 2047 - Virtual Reality in the UK, but I suppose the "virtual reality" in the title is a bit confusing, so they're using Virtual Revolution instead. Virtual Revolution is set in Paris in 2047, where most of the population spends their time online, connected into virtual worlds, and don't care anymore about reality. One "hybrid" (meaning he spends half in the real world, half in the virtual world) agent, who works for the companies that run these virtual worlds, tracks down terrorists who threaten the system. The basically seems like a nice indie mashup between Blade Runner and Ready Player One. This stars Mike Dopud, Jane Badler, Jochen Hägele, Maximilien Poullein, and Kaya Blocksage. Worth a look, though I'm not sure if it's actually any good.

Here's the first official trailer (+ poster) for Guy-Roger Duvert's Virtual Revolution, from YouTube:

2047 - Virtual Reality Poster

In a world where most of the population spend their time online, inside virtual worlds, Nash is a hybrid. Half of the time online, the rest of the time, in the real world, he is a private investigator/killer, hired to track down and eliminate the terrorists who threaten the system and who killed his girlfriend. Torn between the past and the future, between virtual and real, Nash ends up having to take some decisions that will impact his life, but also the society he lives in. Virtual Revolution, also known as 2047 - Virtual Reality, is both written and directed by French filmmaker Guy-Roger Duvert, a composer now making his feature directorial debut after a short film previously. This first premiered at the Dances with Films Festival last year, and also played at other various sci-fi/indie festivals throughout last year and this year. We don't know if it has an official US release date yet, but stay tuned if you're interested in this. What do you think?

The Academy’s Push for Foreign Voice in the Oscars May Continue to Overlook American Minority Filmmakers

By Emily Kubincanek

A push towards diversity should begin with the films overlooked in our own country.

As the 8 day nomination voting period beginning on January 5th quickly approaches, many websites have tried to predict how the Academy will sway. Most critics agree that festival favorites like Lady Bird and Call Me By Your Name will be granted nominations. However, Deadline predicts a foreign influence may be the biggest factor in how the Academy votes this year, resulting in an incredibly diverse number of films outside of just the Best Foreign Film category. This is a good step toward expanding the awards to reflect a greater array of nominees, but it may be overlooking diversity inside our own country in the process.

Since Sidney Ganis was elected president of the Academy in 2005, the involvement of foreign filmmakers has become ever more prominent within the organization. His cultural globalist background comes in handy when growing the Academy to include a global voice. He has pushed for more foreign members since his arrival as president, and the membership has increased to 8,500 members. They seem to be concerned about continuing this progression, as Deadline reported that the public relations department of the Academy sent out a memo stating: “It is important to increase the number of executives who are outside the United States.” This push for foreign voices within the organization will certainly reflect in the films they choose to nominate in the next month.

This is good news for those who consider the Oscars to be limited to very traditionally celebrated films. The “Oscars So White” debacle was the result of the Academy overlooking many wonderful performances and films because they nominated mostly white centered films. A push for a global voice would help show the diverse nature of American cinema. Hollywood is made of many people who pilgrim to the city from all over the world to make films, bringing their culture and global voice with them. If the Oscars could reflect that as well, it would greater represent America’s melting pot reputation as well.

That being said, the Academy will have to be careful how much foreign influence they will bring into the Oscars this year. If they are looking too much out of the country for diversity, they will miss many films made in our own country by just as diverse individuals. People of color and other minorities have been overlooked by the Academy just as much as foreign filmmakers. That is more important to address than foreign influence since those filmmakers will not only have to compete with their white peers from America but also the filmmakers that are predicted to have a better chance in the nominations this year. After all, black filmmakers especially have voiced serious disappointment in the Academy choices for nominees in the past few years and their voices should be considered before looking outside the country. Television awards have long been ahead of the Academy when it comes to rewarding the minority filmmakers for their hard work in Hollywood and its time for film awards to reflect the same demographic.

As much as America is influenced by other countries when it comes to cinema, they also set the example for much of the world when it comes to cinema. Hollywood has a greater influence on other countries than they do in Hollywood. If Hollywood and the Academy set the example of highlighting the diverse minorities within its own country, maybe those stories will come to be more valued in other countries than they are currently.

Last year Moonlight dazzled the Oscars not just because of the Best Film announcement episode, but because of what it represented for the diversity of the Academy’s consideration. This year Get Out, Mudbound, Detroit, and Marshall have a chance to represent the African-American voice at the Oscars. If the Academy is concerned about showing the more global films, Call Me By Your Name features three languages and is set in Italy. Mexico native Guillermo Del Toro’s The Shape of Water certainly contains his foreign voice that would add to the diversity of the nominations. Dunkirk features a famous WWII British tale, going outside just the American look at a war that is often explored by Hollywood.

Whatever the Academy chooses to highlight this coming year, we should continue to support minority and foreign filmmakers even if they don’t get the attention they deserve by the prestigious Oscars. As we draw more importance to the kinds of films they have overlooked in the past, maybe they will take that into consideration as they vote in the coming years. The 2018 Oscar nominations will be announced January 23rd.

More to Read:

The article The Academy’s Push for Foreign Voice in the Oscars May Continue to Overlook American Minority Filmmakers appeared first on Film School Rejects.

Five (More) New Year’s Resolutions for the Distinguished Film Nerd

By Matthew Monagle

We offer some more New Year’s Resolutions for those uncertain of how to live their best possible movie lives in 2018.

Are you ready to make some changes?

Two years ago, I wrote a piece titled Five New Year’s Resolutions for the Distinguished Film Nerd. As a recap for those who have already exhausted their day’s supply of clicks, those resolutions were to spend more time at the inconvenient theater; read the work of a film critic you disagree with; step outside your preferred genre; stay in the dark about an upcoming release; and talk more often with people who don’t care as much about cinema as you do. Taken as a whole, these resolutions were meant to help people develop a more thoughtful – and perhaps more caring – relationship with the moviegoers around them. Good taste is like any other muscle: refuse to flex it and you may find yourself growing weak.

But a new year means a new you, so it’s time for five more resolutions that might help you be a well-rounded moviegoer in 2018. Please feel free to steal with abandon and report back at the end of the year on how well you did.

1. Keep My Damn Letterboxd Up-To-Date

I feel like the same thing happens every year: I’m cruising along in the summer months, dutifully logging every single movie I see in theaters or at home, and then suddenly I realize three weeks have passed and I can’t remember what movies I watched and when. Rather than simply make an educated guess at my viewing habits based on credit card receipts and Netflix queues, I decide to abandon the whole thing and start over the following year. This was certainly the case in 2017, when I made it all the way through July 18 before a half-hearted attempt to watch Stephen King’s Desperation brought my Letterboxd diary to a screeching halt.

Why is this so important? Keeping your Letterboxd diary current is certainly a powerful way to both track the movies you’ve watched, but also to help you identify some gaps in your viewing habits. It’s hard to justify another bland ’90s blockbuster when your Last Five are devoid of substance; updating your diary frequently often has the unintended – but galvanizing – side effect of shaming you into watching some of those arthouse films you’ve kept on the back burner for way too long. Plus, what better way to connect with other movie fans who are watching the same movies as you?

2. Assemble a Weekly or Biweekly Screening Schedule

The older I get, the more I appreciate structure. That’s why I think 2018 is the year that I start reserving my movie time for specific types of cinema. For example, my wife and I have a long-standing tradition called Dinner & Doc Night, where we pair an at-home meal with one of our wishlist documentaries. This tradition has led us to finally watch everything from The Thin Blue Line to this past year’s One of Us, and while the results often vary – documentaries can be a pretty tricky beast, just ask our own documentary guru Christopher Campbell – it at least ensures that one biweekly screening will push us outside the realm of cinematic comfort food.

Take this idea and expand it. If you know you watch a handful of movies every week, carve out time in your schedule for each genre of film. Watch a classic on Tuesdays, an underseen horror film on Thursdays, and a new release on the weekends. Keep building variance into the foundation of your movie nights until you break free from some of the bad habits that keep you from really exploring the best Hollywood has to offer each year. Not every movie needs a four or fifth viewing at the expense of something unseen by you.

3. Support Your Local Video Store (and Library!)

Look, we all know video stores are struggling. For every feel-good headline noting that a major movie theater chain will invest in physical media in 2018, there’s a corresponding USA Today article noting that the video industry is dying faster than any other single industry in the United States. That’s why they need your support. Even setting aside the sense of smug superiority that comes from patronizing a video store, they also offer better selection, richer history, and an offline alternative for people who may be somewhat data-conscious, especially in a world where Net Neutrality looks to be a thing of the past.

And while we’re on the subject of physical media and dying industries, you want to know the second industry on that USA Today list? Public libraries. Despite a recent study by Pew Research Center showing that millennials are the generation of Americans most likely to use public libraries, many public libraries are struggling to keep the lights on across the country. The reasons to support your local library go far beyond simple movie rentals, of course – they provide essential services ranging from literacy programs to employee education – but they remain an excellent source for checking out new and old releases alike. Check out DVDs and make a tax-free donation; that’s the very definition of a win-win scenario.

4. Read a Book About Cinema

Here’s one I always seem to struggle with. When you treat moviegoing as a zero-sum game – where more time for new releases means less time for the classics and vice-versa – it can be hard to make time to actually sit down and read a book. This is exacerbated by the countless number of articles and essays published online each year; why go digging through the works of, say, Peter Bogdanovich when you’ve got a handful of new essays by Bilge Ebiri to read in the here-and-now? Finding time to read for education, not just entertainment, can be a challenge for anyone, especially those (*cough*) who tend to dedicate their free time to the movies themselves.

That doesn’t make it any less important. Reading about the people who helped make Hollywood what it is can provide important historical context for any moviegoer, especially in an era where plenty of writers seem incapable of evaluating movies through anything other than a contemporary lens. If you have some latitude in your schedule, make sure you also find some time for classic film criticism, too. Reading the work of some of the titans – even some of their academic publications – can go a long way towards creating a strong base for your own analyses.

5. Choose an Upcoming Release to Know Nothing About

I like this one so much that I’m unapologetically recycling it from my 2016 piece. Plenty of people have written about the way trailer culture dumbs down film discourse; I’ve even argued in the past that companies like Netflix have made this the main focus of their business model. It seems like far too many of our conversations about film focus on upcoming releases at the expense of good movies currently playing (to say nothing of classic films in desperate need of a new generation of champions). And even if we set all this aside, there’s still the little issue about an upcoming release that you’ve practically spoiled for yourself with a slew of teasers, trailers, and clips.

With that in mind, make 2018 the year that you decide to go into one film totally blank. Pick an upcoming release to avoid at all costs. Skip the trailers. Mute the keywords on Twitter. Avoid reading reviews or early reactions until you’ve had a chance to see the movie for yourself. Remove all the background noise from one Hollywood release and see if it changes the way you think about the movie. And hell, if you enjoyed that, try it a second time, and then a third, until you find yourself no longer caught up in the hype.

The article Five (More) New Year’s Resolutions for the Distinguished Film Nerd appeared first on Film School Rejects.

‘Jurassic World’ Will Be a Trilogy, But One Not Like the Original

By Natalie Mokry

There may be more than meets the eye with the Jurassic World sequels.

Epic blockbusters will be abundant during 2018’s summer season, and Jurassic World: Fallen Kingdom is going to be one of them. That being said, 2018 won’t be our last year with the beloved dinosaur franchise.

Based on the immense success of the first Jurassic World film in 2015, it wasn’t much of a surprise when Universal announced a date for a second film, even though for the most part, the first felt conclusive on its own. More than just a second movie, however, it appears that a third is in the works to arrive in a couple years. In a recent interview with the Jurassic World director from the first film, and Fallen Kingdom screenwriter Colin Trevorrow, he confirmed a third film and discussed how a trilogy has always been the plan. He says:

“I knew where I wanted it to go. I remember telling Steven [Spielberg] even while we were making the first movie, “This is the beginning. Here is the middle. And here’s the end of the end. This is where we want to go. I feel like that kind of design is crucial to a franchise like this if you really want to bring people along with you and make sure they stay interested. It needs to be thought through on that level. It can’t be arbitrary, especially if we want to turn this into a character-based franchise with people who you lean in to follow what they’re going to do.”

Just as the announcement of a second film was unsurprising, the confirmation of a third is not shocking news either. Especially considering the original Jurassic Park series consisted of three films. But rather than just existing as another dinosaur epic it appears Fallen Kingdom, as well as the film that follows it, will have something new and interesting to say. Or at least, that appears to be Trevorrow’s intent.

Since the Fallen Kingdom trailer released not too long ago, fans of the original series already found some parallels between the upcoming addition and The Lost World based on the given synopsis. Both films involve characters heading to an island with dinosaurs to both study them and protect them against impending danger whether that danger be hunters or a natural disaster. However, Trevorrow claims that the film is quite different from The Lost World, even though they sound similar right now.

And as much as some fans were also hoping to see some dinosaur riding going on in the upcoming film, as was also brought up in the interview, it doesn’t appear that this will be the case either. To that prediction, Trevorrow answers:

“It’s important that we keep it at least grounded in a space where the dinosaurs are a parable for animals in the world today. I think that ultimately, when people are able to watch this film and where this franchise is going, it really is about the ethical treatment of animals in the world and our responsibility to the living creatures that we share the planet with, alongside our responsibilities to the planet itself. I think the riding of a t-rex by a soldier is a level of fantasy, [while] I love it and I would love to see it, I don’t know if it’s specifically this franchise, but it’s super cool.”

Ultimately, in setting aside fantasy on some level, he wants the tone of the films to remain consistent and revolve around real problems that derive from humanity. In Jurassic World, it was obvious that when faced with the opportunity to do a ridiculous or horrible act for a lot of money, human greed will win out. To Trevorrow, that’s what the franchise is all about. However, while the second film will deal with this same problem as well, his goal was also to address the great responsibility that humans have to now deal with the animals that resulted from greed.

When looking at a franchise as large and as epic as the Jurassic World series, the social message within the movie is probably not the first thing that runs through audiences’ minds. And who can blame anyone for that? The films are about dinosaurs, one of the most mystical, terrifying, and fascinating parts of our earthly history that interests everyone from all ages and never stops because we’ll never really get every definitive answer out there. We’ll never see a T-Rex in our lifetime, so to see one come to life in a movie is the next best thing.

Plus, often enough, so many blockbuster films put the focus on the spectacle aspect of the story because they believe that’s what will make the most money and is what audiences want the most. On some level, it is, because of course, we all want to see the dinosaurs. But many would also like to be able to step back and feel like they’ve taken away more from the film than just the visuals, and if Trevorrow can accomplish this, more power to him. It’s a hard thing to do in a film that banks on its visuals and spectacle and star power. Themes of greed and human selfishness are very clear in the first film, but there was still so much else going on that it sort of got lost in the background. However, now that the first film has already spent a good amount of time establishing the world and the characters, maybe there will be room in this second to explore these social themes a little more.

So it appears that Fallen Kingdom will work not only to set up a third film, but also to differentiate itself from the previous trilogy in some ways as well, and as Trevorrow hopes, to work as more than just a spectacle, fantasy film. And if that’s all really the case, then a film that once sounded irrelevant and unnecessary now sounds a little more promising. Come for the T-Rex, stay for the unifying message at the heart of it all.

The article ‘Jurassic World’ Will Be a Trilogy, But One Not Like the Original appeared first on Film School Rejects.

‘Black Mirror’ Season 4: The Only Episode Ranking You Need

By Max Covill

Technology can fix of life’s problems. Just give it a chance.

After San Junipero changed expectations of what we can expect from Black Mirror expectations were high to see what creator Charlie Brooker could come up with next. We’ve already given brief details about what you can expect with the new season but were forbidden from going into any great detail, until now. Now that the new season has finally been released on Netflix we can get into the details of what makes this new season of Black Mirror so great.

Before we go any further, know that this will be a no holds barred ranking of the new episodes. Secrets will be spoiled and twists will be revealed. Those familiar with Black Mirror know there are plenty of elements in each of the episodes to spoil. Given that the show is a Twilight Zone-esque tale of dangers of technology and how it affects our lives gives plenty of room for exciting reveals.

6. Crocodile

Black Museum was the first episode watched for review of the show and that did it a great injustice. It works similar to the Christmas anthology episode, White Christmas, that aired between season 2 and season 3. Everything that happens in the episode builds towards the ending and it includes three different stories. First, there is a doctor who is able to diagnose patients through their pain. Using an implant he is able to find out exactly what is ailing them. Sounds like a wonderful way to help patients, but he becomes obsessed with pain, leading him to self-harm and murder. The second story features a new technology that allows a woman in a coma to share the same body as her husband and experience life through his eyes. Needless to say, the husband eventually wants to move on with his life and the wife’s mind is then transferred to a teddy bear. Finally, there is an inmate on death row who signs away his digital soul. Now he is used as an attraction that allows guests to electrocute him over and over again. There is one final twist that shows just how all these events are connected and in a way, it works out pretty great. There are also some awesome references to past Black Mirror episodes in the Black Museum itself. Perhaps it was just too many interconnected stories and with any episode like this some parts are going to be stronger than others. As the previous review mentioned, Letitia Wright has a big part in the story and she’s going to be in many upcoming features including Black Panther. Definitely an actress to pay attention to.

4. Metalhead

If there was an award for the most artistic episode of the new season, Metalhead would take it home easily. The episode takes place in some post-apocalyptic future where materials and goods are sparse. The entire episode was also shot in black and white either as a concept or because of a high level of gore. A woman (Maxine Peake) and her team are trying to get a mysterious item, but they find a robot dog that is similar to a T-1000. Literally, this thing is a rabid killing machine that cannot be stopped. Thus Metalhead boils down to an epic tale of survival as one woman tries to outsmart a machine. Even though it is the shortest of the new episodes, it totally packs a punch. There are some individual great moments when the woman is trying to outsmart the robotic pooch. The only bummer is that the episode ends with a reveal that makes little sense in the grand scheme of things. It would seem that Black Mirror has a thing for teddy bears.

3. USS Callister

USS Callister is easily the most anticipated episode of the new season and for good reason. It totally has been advertised as a feature-length episode of Black Mirror with a Star Trek theme. That ends up being only half of the story. The real world features Jesse Plemmons as an under-appreciated CTO of a game development studio. He has used his genius to create an alternate version of the software that allows him to input the likeness of his coworkers using their DNA. There DNA then becomes characters in a Star Trek simulation and the CTO is the captain of this ship. Thus his coworkers become his digital slaves, only existing to do his bidding. The most enjoyable elements of USS Callister is when the crew is stuck doing routines that would be commonplace in Star Trek. A lot of liberties are taken with a solution to the problem at hand, but the villains of this piece exist in a grey zone. No one is truly evil here except that they have been lead to a path they can’t veer from.

2. Arkangel

Perhaps it was the combo of Jodie Foster directing and Rosemary DeWitt starring, but Arkangel really hits a good spot. It is incredibly believable that this is a technology that would happen in the not too distant future and perhaps that’s why it works so well. As a mother who is constantly fearful for her daughter, mom (DeWitt) becomes involved in a trial run of a new technology. The technology puts a simple implant into the child but then coveys data such as heartbeat, fears, filters, GPS and others through the use of a special tablet. This sounds like a solid idea in theory until mom becomes addicted to knowing what her child is doing at all times. The episode covers different time periods in the life of the mother and her daughter and how this device blocks many life experiences from the child. Arkangel then works in some really crazy events for the daughter to get involved in that really puts the whole idea into a whirlwind. In the end, the technology only exacerbated a fear through the use of technology.

1. Hang the DJ

The episode most likely to be compared to San Junipero given the relationship drama and happy ending, Hang the DJ works on numerous levels to make it the best in this series of episodes. Presented with a world that uses a digital dating coach to match partners, two individuals meet up of their first date. As part of the dating service, they are given a specific amount of time they can see that other person then they have to move on to someone else. This could be a time of twelve hours or three years, just depends on the decision the system makes. This is all in hopes that eventually a couple will find their ultimate match. There are a lot of things that just make this episode come together but perhaps the most important is the chemistry between the two leads. Georgina Campbell and Joe Cole really make you want to root for these two to be successful at whatever cost. Of course, the music from Sigur Ros and the direction from Tim Van Patten is icing on the cake. It is just a completely satisfying episode with a fantastic twist that could very well be happening in our world today.

The article ‘Black Mirror’ Season 4: The Only Episode Ranking You Need appeared first on Film School Rejects.

‘Black Mirror’ Leads by Example with its New Season of Female Protagonists

By Sheryl Oh

Charlie Brooker continues to think outside the box.

Black Mirror’s propensity to predict the future has been documented before for more comical purposes (remember Piggate?). But the show’s ability to create alternate realities so eerily similar to real life is genuinely part of what makes the experience of watching it so thrilling. Black Mirror has long been socially conscious, and continues to push the envelope in that regard, according to a new interview from The Hollywood Reporter.

Initially mostly known to be a manifestation of our most nihilistic technological nightmares, Black Mirror’s first two seasons were steeped in shock factor. There was a ludicrous element to the show that seemed too wild; the ultimate, terrifying what-if scenario that results in all of us losing our identities to our smartphones and computers.

However, that all changed in Black Mirror‘s third season. “We wanted slightly more variety of tone across [Season 3],” series creator Charlie Brooker had then said during the show’s promotional campaign last year. That commitment to experimentation led Black Mirror to some of Brooker’s most ambitious storytelling, including a more high-concept, but overall happily resolved episode, “San Junipero.” Even if Brooker conceded that the “shards of light” in “San Junipero” led to him writing the show’s typical “grungy horrible stuff,” that was simply the tip of the iceberg.

Black Mirror prepares to evolve yet again in the wake of its fourth season, this time with six brand new episodes entirely led by women. THR breaks down this seemingly unconscious choice with Black Mirror executive producer Annabel Jones.

“Charlie and I don’t tend to think about the stories that way. Sometimes, it just comes out,” Jones tells THR. “But it’s great — great! — that they’re all strong female protagonists. I think what’s lovely about the show is that it’s not a strident statement. It’s more: Why not? We don’t even think about it from a gender perspective and I hope that’s progress. It’s more that we explore the best story and the best way to tell it.”

Brooker and Jones evidently just thought of each episode in terms of what made sense to their individual overarching narratives. Most of them were written with women in mind due to wild intuition, according to Jones. When speaking of “Arkangel,” the Brooker-touted mini-indie movie directed by Jodie Foster, Jones said, “‘Arkangel’ just felt right that it was a single mother with a daughter. It could have been a single father, but because of the way the plot turned out, we felt stronger that it should be a female parent.”

Meanwhile, “Metalhead” features a specific bond with a woman’s nephew and sister. Without so much rhyme or reason behind these narrative choices, less conventional shows could be accused of pushing women into gendered roles. If only Black Mirror could even be that simple. Each female protagonist is the true focus of her own story, and whether there’s triumph or turmoil at the end of the tunnel doesn’t really matter. Black Mirror has always allowed characters the room to become real and relatable due to episode length and the contained nature of the anthology format. That being said, Season 4 reportedly also features the shortest episode in the show’s history; “Metalhead” clocks in at just 38 minutes.

Brooker also rewrote the protagonist role in one of the episodes to accommodate Andrea Riseborough‘s involvement. “Andrea read for one of the other parts and she really liked the journey of the protagonist and she challenged us and said, ‘Do you think it could be a woman?'” said Jones.

“We hadn’t quite thought about that. We questioned it and worked it. Apart from the physicality element of it — a requirement that plays out in the episode’s first few minutes — we thought, ‘How often do you see a mother reduced to this level of desperation?’ Then we thought that was actually quite interesting, and that’s the result of Andrea’s role.”

It’s easy enough to think that people know by now that the idea of a “strong woman” doesn’t automatically equate to something two-dimensional; a direct embodiment of masculine traits. But shows like Black Mirror puts the concept into practice, and actually incorporate those complicated characterizations into relevant, impactful stories, and apparently without giving it too much of a second thought. Past seasons of Black Mirror showcased a stance that champions the validity of human consciousness, prioritizing it over technological savvy or even finding a discomfiting balance between the two in some cases. Starring the likes of Rosemarie DeWitt (La La Land), Letitia Wright (Black Panther) and Georgina Campbell (Broadchurch) among others, Black Mirror‘s fourth season is immediately made more powerful in its multitude of new perspectives.

Black Mirror Season 4 is now available for streaming on Netflix.

The article ‘Black Mirror’ Leads by Example with its New Season of Female Protagonists appeared first on Film School Rejects.

Watch: Polaris Castillo's Moving Lucha Libre Short Film 'El Luchador'

El Luchador Short Film

"I'm putting an end to the tyranny! I will fight for my people. I will bring them peace and glory!" Another outstanding independent short film to watch when you have a chance. El Luchador is made by filmmaker Polaris Castillo and tells the story of a professional wrestler who goes into seclusion after his undefeated streak comes to an end. This is a very impressive, well-made, emotional short film that speaks to much more than just wrestling and the Lucha Libre life. Some of the footage reminds me a bit of Darren Aronofsky's The Wrestler, but this goes down its own path when it comes to the actual story and characters. Fire it up below.

Original short film description from Vimeo: "A professional wrestler goes into seclusion after his undefeated streak comes to an end." El Luchador is both written and directed by Mexican filmmaker Polaris Castillo, who has been making short films and more. You can follow him @PolarisCastillo - or see more of his work here or on Vimeo. The short film is produced by Polaris Castillo, Dan Marcus and Julian Park, as a Sweet Nightmares + Hyper Tensive Films production. Featuring cinematography by Pascal Combes-Knoke, music composed by Joelian Sanchez. For info, visit Sweet Nightmares' site. For more shorts, click here. Thoughts?

Official Trailer for Daisy Aitkens' Romantic Comedy 'You, Me and Him'

You, Me and Him Trailer

"I need you to be the person you plan to be sooner." The first official trailer has arrived online for an indie romantic comedy titled You, Me and Him, from the UK made by Australian filmmaker Daisy Aitkens, her feature debut. You, Me and Him plays with modern relationship dynamics by introducing a lesbian couple named Olivia and Alex, played by Lucy Punch and Faye Marsay. One lady is a career driven lawyer and the other a fun loving, pot smoking layabout and their neighbour is an annoying Casanova. While neither woman ever wanted children, both end up pregnant. How's that for a modern romantic comedy concept? The cast includes David Tennant, David Warner, Sarah Parish, Peter Davison, Gemma Jones, and Sally Phillips. From the footage in this trailer, it seems this is trying too hard to be a quirky comedy that captures society's romance, but lacks any of the nuance or real emotions of the real world. But I don't know.

Here's the first official trailer (+ poster) for Daisy Aitkens' You, Me and Him, direct from YouTube:

You, Me and Him Poster

In this classic romantic comedy with a very modern twist, we meet lesbian couple Olivia and Alex (Lucy Punch and Faye Marsay). Despite their age difference, they're very much in love. As the question of pregnancy beckons and they befriend their new neighbour John (David Tennant), lines begin to get blurred and the trio find themselves in some truly uncharted territory. You, Me and Him is both written and directed by Australian actress/writer-turned-filmmaker Daisy Aitkens, making her feature directorial debut after a few short films previously. This hasn't premiered at any film festivals or otherwise yet. Aitkens' You, Me and Him will open in UK cinemas starting April 2018, but doesn't have an official US date set yet.

Don Hertzfeldt's 'World of Tomorrow Episode Two' is Available Now

World of Tomorrow Episode Two

"Without third generation Emily, my brain is now an obsolete storage drive without a purpose." Alert! It's time to watch the highly anticipated, super-intelligent, sci-fi sequel World of Tomorrow Episode Two. Acclaimed filmmaker Don Hertzfeldt is back(!) with another of his one-of-a-kind animated shorts called World of Tomorrow Episode Two (in full the title is World of Tomorrow Episode Two: Burden of Other People's Thoughts), the sequel to his highly successful World of Tomorrow from a few years ago. We posted a teaser trailer last month, and now the full short film is available to rent on Vimeo (please support indie filmmakers like Don Hertzfeldt). This initially premiered at Fantastic Fest to many rave reviews, including a rare A+ from David Ehrlich at Indiewire. If your brain needs a reboot and refresh, this film will help. Enjoy.

You can watch the short by clicking the video below or going straight to Vimeo and renting it on-demand.

For more info visit the film's official site here, or follow Hertzfeldt on Twitter for updates @donhertzfeldt.

The highly anticipated follow-up to Don Hertzfeldt's Oscar-nominated World of Tomorrow finds Emily Prime swept into the brain of an incomplete backup clone of her future self, who's on a mission to reboot her broken mind. Continuing the tradition of the first film, World of Tomorrow Episode Two was written entirely around candid audio recordings of Hertzfeldt's five-year-old niece. World of Tomorrow Episode Two is once again both written and directed by Oscar nominated filmmaker Don Hertzfeldt (follow him @donhertzfeldt), of the first World of Tomorrow as well as It's Such a Beautiful Day, and many other short animated films including Everything Will Be Ok and The Meaning of Life. This first premiered at Fantastic Fest. For more info or to watch the short, head to Vimeo. See the first World of Tomorrow here. Thoughts?

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