The family blames Thomasin, the oldest daughter who was watching the boy at the time of his disappearance. With suspicion and paranoia mounting, twin siblings Mercy and Jonas suspect Thomasin of witchcraft, testing the clan's faith, loyalty and love to one another. Script for the 2015 film.

    Hanks, and Greta's letters to Dave Matthews, Alanis Morisette, and Justin Timberlake.

    

    

    Conducted in the 1990s, these in-depth conversations offer a film-by-film account of Kiarostami’s views of his artistic development from his first short “Bread and Alley” in 1970 to the 1999 feature The Wind Will Carry Us, covering his lesser known, and seldom written about, shorts from earlier in his career, along with the masterworks that made him world famous, such as the Koker Trilogy (Where Is the Friend’s House?, And Life Goes On, Through the Olive Trees), Close-Up and Taste of Cherry. The book includes a Foreword by Ahmad Kiarostami, the director’s son, as well as an introduction from Cheshire that contextualizes the interviews and discusses his relationship with the director.“During Godfrey’s several visits to Iran throughout a decade, he formed a relationship with my father that I had rarely seen him having with other writers. I believe this is because of Godfrey’s ability to go beyond the surface; his unique views and interpretations…It is well-known that Godfrey was one of the first people who introduced the Iranian cinema to America and, yet, there is no trace of the usual “exotic” approach…That is what you will find in this book: a refreshing conversation with Abbas that has substance, and is far from cliché.”—Ahmad Kiarostami, from his foreword.“For Kiarostami’s own overview of his early career, I’d recommend Conversations with Kiarostami by the critic and filmmaker Godfrey Cheshire.”—Richard Brody, The New Yorker

    From Sri Lanka to Poland, from the US to India, cinemas were filled with the exploits of suave secret agents, glamorous femmes fatales and increasingly demented villains. The symbols and images of the genre permeated advertisements, pulp novels and television series as well. No suburban dinner party was complete without a discussion of the latest escapades of a Bond, a Bulldog Drummond or a Harry Palmer. The intention of this book is to examine the more obscure cinematic manifestations of sixties spy mania. Though these films may be almost entirely forgotten today, they were literally everywhere at the time. With the sorry state of the world, what better time than today to delve into the life of a super-slick secret agent? Someone who understands the games that nations are playing, someone who can process incoming information and control—rather than be controlled by—situations. Someone who is backed up by the might of military hardware and brainpower. Someone who can charm the chicks and beat up the bad guys. This is the import of the secret agent: In a world of profound flux, we need the anchor of a hero who is able to do something about the things that we, frankly, have no power over. That, of course, and the fact that the films are bloody good fun.

    This book depicts the work, techniques, and the actors and actresses involved in the Hurrell style. This volume combines text with 190 photographs. It shows the glamour of Hollywood, the beauty of its stars, the vision that created them. (Description by http-mart)

    In this volume, his writings on cinema include some important pieces previously available only in the original Bengali, as well as the collection of pieces in English previously published by Ritwik Memorial Trust as 'Cinema and I'. Gathered here are musings, reviews, essays, and interviews. Together they offer a fascinating insight into the mind of a unique filmmaker, the significance of whose contribution to the heritage of cinema in India is beyond dispute.

    Her inability to resist as she fell deeper.OK, the baby is born. She handed it to him and left!Yet, he had her hog-tied and thrown onto the bed. Furiously boiling with anger he roared, “Woman! Who said I only wanted one?”

    While other women her age are out partying, she spends her nights working as a janitor in a university she could never afford to go to in the daytime. She lives with her family in a tiny trailer in her mother's backyard. Somehow, she keeps her head above water: surviving but not "living."guión cinematográfico de Isabel Coixet ; basado en el cuento Pretending the Bed is a Raft de Nanci Kincaid

    In this special report, Michael A. Hoffman II has compiled the most complete documentation available anywhere tracking the hundreds of movies and TV shows which comprise the worst hate propaganda assault in the annals of communications. Here is the information you need to fight back against media hate

    

    

    

    

    There has been a horrible car accident. A Mercedes has jumped the curb and mowed down five pedestrians – one of them five months pregnant. At the wheel is a wretchedly drunk errand boy – impeccably dressed, all sinew and muscle, perfectly coiffed – but a servant, nonetheless, and the only one at the scene. He’s taken to jail, he’s beaten up, tortured; he doesn’t speak. His name is Ajay. A few days into his imprisonment, the guards appear. “There’s been a mistake,” they say, cleaning him up. “Why didn’t you tell us?” they ask, as they give Ajay hot food and his wallet, fresh clothes, chai. They’re apologetic, deferential even.“We didn’t know you were a Wadia man.”Deftly shifting through time and perspective, Age of Vice revolves around the uber-wealthy, well-connected, powerful and completely corrupt Wadia family – the young, ambitious, spoiled Sunny; his controlling, ruthless and domineering father Bunty; and the violent, powerful, bloodthirsty Uncle Vicky. Those who grow close to the Wadias find themselves entangled in the web of this family’s constant grabs for more power, more influence and control, more land, more wealth – even, occasionally, for a scapegoat. There is Neda, a curious, young journalist caught between her profession and the pleasures of the millennial city; Gautam Rathore, a royal decadent playboy in need of public redemption; and then there’s Ajay: a watchful, low-caste boy born into poverty and sold into servitude, who eventually find himself rising through the ranks of the Wadia family’s loyalty.

    

    

    

    That's why before examining RA&A, John explains all the production steps involved in a commercial animation. The story sketches; The storyboard; Design and Layout; Soundtrack Recordings; Key and Pose animation; Rough Animation and Cleaning; In between; Ink and Paint; photography; print.Chapters on the life and career of:- Johny Gruelle, the creator of the Raggedy Ann & Andy original book series.- The Canadian animator, director and genius behind this movie, Richard Williams. Multiple quotes from Dick, some of his letters during the production, and final comments about any aspect of the movie.- Top class master animators and some young talents (young, back in the day):Cornelius "Corny" Cole (really a Designer, Art); Arthur Babbitt (The Disney legend; here with 69 years old, Key: Camel with the Wrinkled Knees); Hall Ambro (Key: Babette, the french doll); John Kimball (the son of... Yes, Key: Loony Knight; the weird camel mirage, The Spooky, Ha Ha Hall); Emery Hawkins (Warner Bros, MGM, Lantz, Disney... You name it, he's been everywhere, here, Key: The Greedy); Gerry Chiniqui (ex- Warner brothers animator, key: The dancing Twin Penny dolls, and King Koo Koo); Charles E. Downs (Key: The Captain and his parrot); Tissa David (once the assistant of Grim Natwick, and Key animator of Ann, and Andy);Chrystall Russell (Key: Raggedy Ann); GRIM NATWICK (at the time of this movie 87 years old!!!!!, Key: The Loonies in King Koo Koo sequence); Spencer Peel (Key: Playroom dolls)"When you're wrinkled and cold, and your Fortune has all been told, and you're nobody's 'I Love you' How can you be happy? How can you be smiling? How can you be anything but lowdown saggy and blue?"

    

    

    

    Each period boasts its own stars and personalities who have captured the affections of generations of cinema-goers: Greta Garbo, Katharine Hepburn, Marlon Brando, Sean Connery, Meryl Streep and Eddie Murphy.

    

    Groucho, Harpo, Chico and Zeppo set international relations on its ear--and the audience in stitches--with their rapid-fire wit and hijinks. Not to be missed, "Duck Soup" is one of the Marx Brothers' most popular films.

    

    

    

    

    Written entirely in Esperanto, it has only now been independently translated into English.

    Kramer has always looked to films as a mirror to see how gay and lesbian life is represented. Independent Queer Cinema collects 100 of Kramer's reviews and interviews (from 1999 to 2004) that celebrate the latest "queer wave" of actors, writers, and directors. These are films and filmmakers to be discovered and discussed—from the independent American hit Kissing Jessica Stein and the provocative foreign gem Come Undone, to tantalizing insights from Stephen Fry and Tilda Swinton. Independent Queer Cinema is a valuable reference guide as well as an entertaining compilation of Kramer's astute reviews and interviews. There's no shortage of great gay and lesbian films-if you know where to look. Independent Queer Cinema is your guide to the films and personalities that deserve more attention, more respect, and more success, with a special focus on the foreign and low-budget gems that can slip past without a second look. Kramer, whose work regularly appears in the Philadelphia Gay News, the San Francisco Bay Times, and on Indiewire.com, uncovers films that bring honest representations of the queer lifestyle to the screen, exploring sexuality and identity through issues such as coming out and finding one's place in the world. He talks with filmmakers and actors who aren't afraid to explore gay male sexuality on screen, including queer directors whose films feature mainly straight characters, straight filmmakers who tackle queer subject matter, new queer filmmakers whose work has—so far—had very little theatrical exposure, and both gay and straight actors who've played both gay and straight characters. Independent Queer Cinema includes interviews with: John Greyson, who discusses the difficulties making the stylish and provocative Proteus Javier Bardem, who talks about his Oscar-nominated portrayal of Cuban poet Renaldo Arenas in Before Night Falls Steve Guttenberg, who discusses why he choose the cult classic novel P.S.: Your Cat Is Dead for his directorial debut Andrew Jarecki, who talks about his thought-provoking documentary, Capturing the Friedmans Margaret Cho, who takes a rather serious look at comedy and the appeal of Notorious C.H.O. . . . And reviews of 60 films, that range from hot and sexy to thoughtful and sensitive to just plain offensive, including: Burnt Money, a stylish crime melodrama from director Marcelo Piñeyro Swimming Pool, a deliciously sinister character study starring Charlotte Rampling The Rules of Attraction, Roger Avary's adaptation of the novel by Bret Easton Ellis A Dirty Shame, John Waters' return to the decadence of his earlier flms Elephant, Gus Van Sant's chilling and disturbing take on the Columbine High School massacre Far From Heaven, a brilliant homage to the domestic melodramas of the 1950s Mambo Italiano, an over-the-top, laugh-out-loud comedy and many more! Independent Queer Cinema provides you with the best seat in the house for a wise, witty, and insightful collection of reviews and interviews that reflect the current state of gay and lesbian filmmaking.