As secrets come out and the body count grows, a character in Bloodmoon says to another: “This is nightmare night, the end-of-the-fuckin’-world night… all the bugs and the bats and the goblins are coming out tonight and no one can stop them.” Based on that rather dramatic statement, one delivered by actor Christine Amor without her even batting an eyelid, this underseen 1990 Australian film sounds a bit deranged. Rest assured, that assumption isn’t off the mark. Of course, this shouldn’t come as a surprise; audacity and nuttiness tend to go hand in hand in classic Ozploitation. Nevertheless, director Alec Mills and screenwriter Robert Brennan’s collaboration was not quite like anything to come out of Aussie Horror at the time. Even today, parts of Bloodmoon feel singular when compared to films from that first slasher cycle.
Warning: Major spoilers below.
Based on one of its several striking...
Warning: Major spoilers below.
Based on one of its several striking...
- 3/28/2024
- by Paul Lê
- bloody-disgusting.com
Almudena Amor stars in female-led story.
Paul Hudson’s Outsider Pictures is at AFM with worldwide rights to the feminist genre film Ancestral from Pablo Aragüés and Marta Cabrera.
Almudena Amor (Sitges and London 2021 entry The Grandmother) stars in the Spanish-language, female-led story about Carla, a pregnant woman who returns to her childhood town where she reunites with her mother and a group of women who seem to be the only inhabitants.
However they are not alone, and Carla is forced to delve into her past to confront an ancestral curse and liberate the women of the town.
The cast...
Paul Hudson’s Outsider Pictures is at AFM with worldwide rights to the feminist genre film Ancestral from Pablo Aragüés and Marta Cabrera.
Almudena Amor (Sitges and London 2021 entry The Grandmother) stars in the Spanish-language, female-led story about Carla, a pregnant woman who returns to her childhood town where she reunites with her mother and a group of women who seem to be the only inhabitants.
However they are not alone, and Carla is forced to delve into her past to confront an ancestral curse and liberate the women of the town.
The cast...
- 11/3/2023
- by Jeremy Kay
- ScreenDaily
First, the bad news. A session helping to launch an extended MipJunior on Friday afternoon, underscored just how hard the kids TV business is suffering.
Prefacing a panel discussion on the State of the Kids Entertainment Industry, Challenges & Opportunities, Ampere Analysis’ Cyrine Amor suggested global kids TV commissions were down 48% in August 2023 and down 21% year-on-year for the 12 months period to end of August 2023.
That’s a radically more significant decrease than the 11% decline in commissioning seen across all programs types for the same period.
U.S. SVOD services and pay TV channels are cutting back most sharply, she said. In the U.S. market, public broadcaster commissions of kids programs were down 8% through August. Pay TV commissions, in contrast, had dived 53%, SVOD orders by 33%.
“There are a lot of factors, including inflation,” she said.
Western Europe is also seeing declines, especially in public service broadcaster’s commissioning of kids TV content.
Prefacing a panel discussion on the State of the Kids Entertainment Industry, Challenges & Opportunities, Ampere Analysis’ Cyrine Amor suggested global kids TV commissions were down 48% in August 2023 and down 21% year-on-year for the 12 months period to end of August 2023.
That’s a radically more significant decrease than the 11% decline in commissioning seen across all programs types for the same period.
U.S. SVOD services and pay TV channels are cutting back most sharply, she said. In the U.S. market, public broadcaster commissions of kids programs were down 8% through August. Pay TV commissions, in contrast, had dived 53%, SVOD orders by 33%.
“There are a lot of factors, including inflation,” she said.
Western Europe is also seeing declines, especially in public service broadcaster’s commissioning of kids TV content.
- 10/14/2023
- by Liza Foreman
- Variety Film + TV
A group of 200 internationally renowned writers, publishers, directors and producers have signed an open letter sounding the alarm over the implications of AI for human creativity.
“Several generative models of language and images have recently appeared in the public and private domains; they are developing at breakneck speed, accessible to all for any task which involves writing and creating,” read the letter, published online on Tuesday.
“These models are shaping a world where, little by little, creation can do without human beings, thereby hastening the automation of many creative and intellectual professions formerly deemed inaccessible to mechanization.”
The letter, initiated by European translation professionals under the banner of “Collective For Human Translation – In Flesh And Blood”, comes amid growing concern about the impact of generative AI technology on professionals working in the creative industries.
Signatories from the literary world included Nobel Prize-winning author Annie Ernaux (Happening) as well as best-selling...
“Several generative models of language and images have recently appeared in the public and private domains; they are developing at breakneck speed, accessible to all for any task which involves writing and creating,” read the letter, published online on Tuesday.
“These models are shaping a world where, little by little, creation can do without human beings, thereby hastening the automation of many creative and intellectual professions formerly deemed inaccessible to mechanization.”
The letter, initiated by European translation professionals under the banner of “Collective For Human Translation – In Flesh And Blood”, comes amid growing concern about the impact of generative AI technology on professionals working in the creative industries.
Signatories from the literary world included Nobel Prize-winning author Annie Ernaux (Happening) as well as best-selling...
- 10/3/2023
- by Melanie Goodfellow
- Deadline Film + TV
Gory, glittery and irresistibly bleak, In My Mother’s Skin represents a stylish, ripe contribution to the folk-horror canon. Not unlike his acclaimed debut, Ma (2018), Manila-based writer-director Kenneth Dagatan’s second feature revolves around a young person who makes a bargain with a malevolent insectoid forest spirit to help her family — with disastrous consequences.
This time round, Dagatan and his team have added a period frame by setting the story on a rural estate in the Philippines during the final days of World War II, just before the defeat of the occupying Japanese forces. Inevitably, that fascism subtext coupled with the creepy-ancient-being stuff strongly brings Guillermo del Toro’s Pan’s Labyrinth to mind, at least to a Western viewer’s eyes. But if you’re going to steal, steal from the best. And there’s plenty that’s fresh, frisky and original here. It’s no surprise the global rights were...
This time round, Dagatan and his team have added a period frame by setting the story on a rural estate in the Philippines during the final days of World War II, just before the defeat of the occupying Japanese forces. Inevitably, that fascism subtext coupled with the creepy-ancient-being stuff strongly brings Guillermo del Toro’s Pan’s Labyrinth to mind, at least to a Western viewer’s eyes. But if you’re going to steal, steal from the best. And there’s plenty that’s fresh, frisky and original here. It’s no surprise the global rights were...
- 1/30/2023
- by Leslie Felperin
- The Hollywood Reporter - Movie News
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