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GLAAD Media Awards

Glaad The nominees are:

 

Outstanding Film - Wide Release

Carol - The Weinstein Company

The Danish Girl - Focus Features

Dope - Open Road Films

Freeheld - Lionsgate

Grandma - Sony Pictures Classics

 

Outstanding Film - Limited Release

52 Tuesdays - Kino Lorber

Appropriate Behavior - Gravitas Ventures

Boy Meets Girl - Wolfe Video

Drunktown's Finest - Nehst Studios

Tangerine - Magnolia Pictures

 

Outstanding Comedy Series

Brooklyn Nine-Nine - FOX

Faking It - MTV

Grace and Frankie - Netflix

Looking - HBO

Master of None - Netflix

Modern Family - ABC

Orange Is the New Black - Netflix

Please Like Me - Pivot

Transparent - Amazon Instant Video

Vicious - PBS

 

Outstanding Drama Series

Arrow - The CW

Black Sails - Starz

Empire - FOX

The Fosters - ABC Family

Grey's Anatomy - ABC

How to Get Away with Murder - ABC

Nashville - ABC

Orphan Black - BBC America

Sense8 - Netflix

Shameless - Showtime

 

Outstanding Individual Episode (in a series without a regular LGBT character)

"Gender"The Carmichael Show - NBC

"Please Don't Ask, Please Don't Tell"Black-ish - ABC

"The Prince of Nucleotides" Royal Pains - USA Network

"Rock-a-Bye-Baby" NCIS New Orleans - CBS

"We Build, We Fight" NCIS - CBS

 

Outstanding TV Movie or Limited Series

Banana - Logo

Bessie - HBO

Cucumber - Logo

 

Outstanding Documentary

Kumu Hina - PBS

Limited Partnership - PBS

Mala Mala - Strand Releasing

Tab Hunter Confidential - The Film Collaborative

Tig - Netflix

 

Outstanding Reality Program

I Am Cait - E!

I Am Jazz - TLC

New Girls on the Block - Discovery Life

The Prancing Elites Project - Oxygen

Transcendent - Fuse

 

Outstanding Daily Drama

The Bold and The Beautiful - CBS

GALECA 2015/16 DORIAN AWARDS

Dorianawards  And the winners are...

FILM OF THE YEAR
The Big Short / Paramount, Regency
Brooklyn / Fox Searchlight
Carol / The Weinstein Company
Mad Max: Fury Road / Warner Bros., Village Roadshow
Spotlight / Open Road, Participant, First Look

DIRECTOR OF THE YEAR
(Film or Television)
Sean Baker, Tangerine / Magnolia Pictures
Todd Haynes, Carol / The Weinstein Company
Alejandro Gonzalez Iñárritu, The Revenant / Fox
Tom McCarthy, Spotlight / Open Road, Participant, First Look
George Miller, Mad Max: Fury Road / Warner Bros., Village Roadshow

PERFORMANCE OF THE YEAR — ACTRESS
Cate Blanchett, Carol / The Weinstein Company
Brie Larson, Room / A24
Rooney Mara, Carol / The Weinstein Company
Charlotte Rampling, 45 Years / Sundance Selects
Saoirse Ronan, Brooklyn / Fox Searchlight

PERFORMANCE OF THE YEAR — ACTOR
Matt Damon, The Martian / Fox
Leonardo DiCaprio, The Revenant / Fox
Michael Fassbender, Steve Jobs / Universal
Tom Hardy, Legend / Universal, Cross Creek
Eddie Redmayne, The Danish Girl / Focus, Working Title

LGBTQ FILM OF THE YEAR
Carol / The Weinstein Company
The Danish Girl / Focus, Working Title
Freeheld / Summit
Grandma / Sony Pictures Classics
Tangerine / Magnolia Pictures

FOREIGN LANGUAGE FILM OF THE YEAR
The Assassin / Central Motion Pictures, Well Go USA
Mustang / Cohen Media Group
Phoenix / Sundance Selects
Son of Saul / Sony Pictures Classics
Viva / Magnolia Pictures

SCREENPLAY OF THE YEAR
Emma Donoghue, Room / A24
Phyllis Nagy, Carol / The Weinstein Company
Charles Randolph and Adam McKay, The Big Short / Paramount, Regency
Josh Singer & Tom McCarthy, Spotlight / Open Road, Participant, First Look
Aaron Sorkin, Steve Jobs / Universal

DOCUMENTARY OF THE YEAR
(theatrical release, TV airing or DVD release)
Amy / A24
Best of Enemies / Magnolia Pictures, Magnet
Going Clear: Scientology and the Prison of Belief / HBO
Making a Murderer / Netflix
What Happened, Miss Simone? / Netflix

VISUALLY STRIKING FILM OF THE YEAR
(honoring a production of stunning beauty, from art direction to cinematography)
Carol / The Weinstein Company
The Danish Girl / Focus, Working Title
Mad Max: Fury Road / Warner Bros., Village Roadshow
The Martian / Fox
The Revenant / Fox

UNSUNG FILM OF THE YEAR
The Diary of a Teenage Girl / Sony Pictures Classics
Ex Machina / A24
Grandma / Sony Pictures Classics
Me and Earl and the Dying Girl / Fox Searchlight
Tangerine (Magnolia)

CAMPY FLICK OF THE YEAR
The Boy Next Door
Fifty Shades of Grey
Magic Mike XXL
Jupiter Ascending
Stonewall

TV DRAMA OF THE YEAR (TIE)
Fargo / FX
The Leftovers / HBO
Mad Men / AMC
Mr. Robot / USA
Orange is the New Black / Netflix

TV COMEDY OF THE YEAR
Grace and Frankie / Netflix
Master of None / Netflix
Transparent / Amazon
Unbreakable Kimmy Schmidt / Netflix
Veep / HBO

TV PERFORMANCE OF THE YEAR — ACTOR
Titus Burgess, Unbreakable Kimmy Schmidt / Netflix
Jon Hamm, Mad Men / AMC
Rami Malek, Mr. Robot / USA
Jeffrey Tambor, Transparent / Amazon
Justin Theroux, The Leftovers / HBO

TV PERFORMANCE OF THE YEAR — ACTRESS
Viola Davis, How to Get Away with Murder / ABC
Jane Fonda, Grace and Frankie / Netflix
Taraji P. Henson, Empire / Fox
Krysten Ritter, Jessica Jones / Netflix
Lily Tomlin, Grace and Frankie / Netflix

TV CURRENT AFFAIRS SHOW OF THE YEAR
Anderson Cooper 360 / CNN
The Daily Show / Comedy Central
Last Week Tonight with John Oliver / HBO
The Rachel Maddow Show / MSNBC
Real Time with Bill Maher / HBO

LGBTQ TV SHOW OF THE YEAR
Grace and Frankie / Netflix
Looking / HBO
Orange is the New Black / Netflix
Sense8 / Netflix
Transparent / Amazon

UNSUNG TV SHOW OF THE YEAR
Broad City / Comedy Central
Crazy Ex-Girlfriend / CW
Getting On / HBO
Looking / HBO
UnReal / Lifetime

TV MUSICAL MOMENT OF THE YEAR
Adele: “Hello / ” Adele Live in New York City / NBC
Aretha Franklin: “(You Make Me Feel Like) A Natural Woman,” 38th Annual Kennedy Center Honors / CBS
Lady Gaga: The Sound of Music 50th anniversary tribute, 87th Annual Academy Awards / ABC
Sydney Lucas and the Cast of Fun Home: “Ring of Keys” 69th Annual Tony Awards / CBS
John Legend and Common: “Glory” (Original song nominee, Selma): 87th Annual Academy Awards / ABC

CAMPY TV SHOW OF THE YEAR
American Horror Story: Hotel
Empire
How to Get Away with Murder
Scream Queens
Sense8

“WE’RE WILDE ABOUT YOU!” RISING STAR AWARD
Rami Malek
Kitana Kiki Rodriguez
Mya Taylor
Jacob Tremblay
Alicia Vikander

WILDE WIT OF THE YEAR
(honoring a performer, writer or commentator whose observations both challenge and amuse)
Billy Eichner
Rachel Maddow
Tig Notaro
John Oliver
Amy Schumer

WILDE ARTIST OF THE YEAR
(honoring a truly groundbreaking force in the fields of film, theater and/or television)
Andrew Haigh
Todd Haynes
Lin-Manuel Miranda
Tig Notaro
Amy Schumer
TIMELESS STAR
(to an actor or performer whose exemplary career is marked by character, wisdom and wit)
Jane Fonda (previously announced)

Razzie Nominations 2015..& Winners/Losers

All worthy winners...

WORST PICTURE

Fantastic Four
Fifty Shades of Grey
Jupiter Ascending
Paul Blart: Mall Cop 2
Pixels

WORST ACTOR

Johnny Depp, Mortdecai
Jamie Dornan, Fifty Shades of Grey
Kevin James, Paul Blart Mall Cop 2
Adam Sandler, The Cobbler and Pixels
Channing Tatum, Jupiter Ascending

WORST ACTRESS

Katherine Heigl, Home Sweet Hell
Dakota Johnson, Fifty Shades of Grey
Mila Kunis, Jupiter Ascending
Jennifer Lopez, The Boy Next Door
Gwyneth Paltrow, Mortdecai

WORST SUPPORTING ACTOR

Chevy Chase, Hot Tub Time Machine 2 and Vacation
Josh Gad, Pixels and The Wedding Ringer
Kevin James, Pixels
Jason Lee, Alvin & The Chipmunks: Road Chip
Eddie Redmayne, Jupiter Ascending

WORST SUPPORTING ACTRESS

Kaley Cuoco-Sweeting, Alvin & The Chipmunks: Road Chip and The Wedding Ringer
Rooney Mara, Pan
Michelle Monaghan, Pixels
Julianne Moore, Seventh Son
Amanda Seyfried, Love the Coopers and Pan

WORST REMAKE/RIP-OFF/SEQUEL

Alvin & The Chipmunks: Road Chip
Fantastic Four
Hot Tub Time Machine 2
Human Centipede 3 (Final Sequence)
Paul Blart Mall Cop 2

WORST SCREEN COMBO

All Four “Fantastics,” Fantastic Four
Johnny Depp and His Glued-On Moustache, Mortdecai
Jamie Dornan and Dakota Johnson, Fifty Shades of Grey
Kevin James and EITHER His Segue OR His Glued-On Moustache, Paul Blart Mall Cop 2
Adam Sandler and Any Pair of Shoes, The Cobbler

WORST DIRECTOR

Andy Fickman, Paul Blart Mall Cop 2
Tom Six, Human Centipede 3 (Final Sequence)
Sam Taylor-Johnson, Fifty Shades of Grey
Josh Trank, Fantastic Four
Andy and Lana Wachowski, Jupiter Ascending

WORST SCREENPLAY

Fantastic Four (screenplay by Simon Kinberg, Jeremy Slater and Josh Trank, Based on the Marvel comic book by Stan Lee and Jack Kirby)
Fifty Shades of Grey (screenplay by Kelly Marcel, Based on the Novel by E.L. James)
Jupiter Ascending (written by Andy and Lana Wachowski)
Paul Blart Mall Cop 2 (screenplay by Kevin James & Nick Bakay)
Pixels (screenplay by Tim Herlihy and Timothy Dowling, Story by Herlihy, Based on a Work by Patrick Jean)

RAZZIE REDEEMER AWARD

Elizabeth Banks (RAZZIE “Winner” for MOVIE 47, Multiple Hit Movies This Year)
M. Night Shyamalan (Perennial RAZZIE nominee & “winner,” director of The Visit)
Will Smith (For following up After Earth with Concussion)
Sylvester Stallone (All-Time RAZZIE Champ, award contender for Creed)

Directors Guild of America Nominations...

2016 Outstanding Directorial Achievement In A Feature Film

  • Alejandro G. Inarritu – The Revenant
  • Tom McCarthy – Spotlight
  • Adam McKay – The Big Short
  • George Miller – Mad Max: Fury Road
  • Ridley Scott – The Martian

And, this year a new award...

2016 Outstanding Directorial Achievement of a First-Time Feature Film Director

  • Fernando Coimbra – A Wolf at the Door
  • Joel Edgerton – The Gift
  • Alex Garland – Ex Machina
  • Marielle Heller – The Diary of a Teenage Girl
  • Laszlo Nemes – Son of Saul

Golden Globes Winners...

Gervais was even more painful than usual...

Can someone, somewhere please explain why The Martian is a comedy? Okay, admittedly, the whole escape-from-planet-Mars-in-a-canvas-covered-rocket-ship is a bit of a joke...but, c'mon, it's NOT a comedy! Neither is The Big Short...

Joy, a comedy? Is anyone laughing? Jennifer is...why Melissa McCarthy was even nominated is a joke.

The Revenant...best director, film and actor...for hypothermic resistance?!? A bear-skin-clad superhero...now, this one really is a comedy.

Stallone beat Rylance...that's a joke, right?!?

Steve Jobs...two wins, you cannot be serious?

All in all, not a good night for LGBT cinema...Carol, The Danish Girl, Spotlight...snubbed.

However, it was the night for television's 'bisexual' ladies, with 2 awards in the bag...Lady Gaga (beating Queen Latifah's bisexual lady) & Taraji P. Henson (beating Viola Davis' bisexual lady). Last year, the globes were all trans* - this year, bisexual women. Next year...who knows? One thing (for sure?), Gervais will offend.

The 73rd Golden Globes...a veritable feast of bad jokes and ridiculous results.


Here’s the full list of nominees & Winners for the 73rd annual Golden Globes...

Golden Globes

Best Motion Picture, Drama
Carol
Mad Max: Fury Road
The Revenant
Room
Spotlight

Best Motion Picture, Comedy
The Big Short
Joy
The Martian
Spy
Trainwreck

Best Director – Motion Picture
Todd Haynes, Carol
Alejandro Iñárritu, The Revenant
Tom McCarthy, Spotlight
George Miller, Mad Max
Ridley Scott, The Martian

Best Actress in a Motion Picture, Drama
Cate Blanchett, Carol
Brie Larson, Room
Rooney Mara, Carol
Saoirse Ronan, Brooklyn
Alicia Vikander, The Danish Girl

Best Actress in a Motion Picture, Comedy
Jennifer Lawrence, Joy
Melissa McCarthy, Spy
Amy Schumer, Trainwreck
Maggie Smith, Lady in the Van
Lily Tomlin, Grandma

Best Supporting Actress in a Motion Picture
Jane Fonda, Youth
Jennifer Jason Leigh, The Hateful Eight
Helen Mirren, Trumbo
Alicia Vikander, Ex Machina
Kate Winslet, Steve Jobs

Best Actor in a Motion Picture, Drama
Bryan Cranston, Trumbo
Leonardo DiCaprio, The Revenant
Michael Fassbender, Steve Jobs
Eddie Redmayne, The Danish Girl
Will Smith, Concussion

Best Actor in a Motion Picture, Musical or Comedy
Christian Bale, The Big Short
Steve Carell, The Big Short
Matt Damon, The Martian
Al Pacino, Danny Collins
Mark Ruffalo, Infinitely Polar Bear

Best Supporting Actor in a Motion Picture
Paul Dano, Love & Mercy
Idris Elba, Beasts of No Nation
Mark Rylance, Bridge of Spies
Michael Shannon, 99 Homes
Sylvester Stallone, Creed

Best TV Series, Drama

Empire
Game of Thrones
Mr. Robot
Narcos
Outlander

Best TV Series, Comedy
Casual
Mozart in the Jungle
Orange Is the New Black
Silicon Valley
Transparent
Veep

Best TV Movie or Limited-Series
American Crime
American Horror Story: Hotel
Fargo
Flesh and Bone
Wolf Hall

Best Actor in a TV Series, Drama
Jon Hamm, Mad Men
Rami Malek, Mr. Robot
Wagner Moura, Narcos
Bob Odenkirk, Better Call Saul
Liev Schreiber, Ray Donovan

Best Screenplay – Motion Picture
Emma Donoghue, Room
Tom McCarthy, Josh Singer, Spotlight
Charles Randolph, Adam McKay, The Big Short
Aaron Sorkin, Steve Jobs
Quentin Tarantino, The Hateful Eight

Best Animated Feature Film
Anomalisa
The Good Dinosaur
Inside Out
The Peanuts Movie
Shaun the Sheep Movie

Best Actress in a Limited-Series or TV Movie
Kirsten Dunst, Fargo
Lady Gaga, American Horror Story: Hotel
Sarah Hay, Flesh & Bone
Felicity Huffman, American Crime
Queen Latifah, Bessie

Best Supporting Actress in a Series, Limited-Series, or TV Movie
Uzo Aduba, Orange is the New Black
Joanne Froggatt, Downton Abbey
Regina King, American Crime
Judith Light, Transparent
Maura Tierney, The Affair

Best Actress in a TV Series, Comedy
Rachel Bloom, Crazy Ex Girlfriend
Jamie Lee Curtis, Scream Queens
Julia Louis Dreyfus, Veep
Gina Rodriguez, Jane the Virgin
Lilly Tomlin, Grace & Frankie

Best Supporting Actor in a Series, Limited-Series or TV Movie
Alan Cumming, The Good Wife
Damian Lewis, Wolf Hall
Ben Mendelson, Bloodline
Tobias Menzies, Outlander
Christian Slater, Mr. Robot

Best Original Song – Motion Picture
“Love Me Like You Do” 50 Shades of Grey
“One Kind of Love” Love and Mercy
“See You Again” Furious 7
“Simple Song No. 3” Youth
“Writing’s on the Wall” Spectre

Best Original Score
Carter Burwell, Carol
Alexandre Desplat, The Danish Girl
Ennio Morricone, The Hateful Eight
Daniel Pemberton, Steve Jobs
Ryuichi Sakamoto Alva Noto, The Revenant

Best Motion Picture, Foreign Language
The Brand New Testament
The Club
The Fencer
Mustang
Son of Saul

David Bowie...

Our tribute to this great, great man...who changed lives...for the better.

His first film role...

The Image is a 1969 black and white short film directed by Michael Armstrong with starring Michael Byrne and David Bowie in his first film role. The film is one of the few short films ever to receive a certified 'X' Rating and it gained this rating due to its violent content.

All-time DOMESTIC GROSSES...

 
Adjusted for Ticket Price Inflation

Source: http://www.boxofficemojo.com/alltime/adjusted.htm January 2016

Note: This chart only shows the top 200 movies, regardless of sorting.

Rank

Title

Studio

Adjusted Gross

Unadjusted Gross

Year^

1

Gone with the Wind

MGM

$1,739,604,200

$198,676,459

1939^

2

Star Wars

Fox

$1,533,609,700

$460,998,007

1977^

3

The Sound of Music

Fox

$1,226,196,400

$158,671,368

1965

4

E.T.: The Extra-Terrestrial

Uni.

$1,221,365,800

$435,110,554

1982^

5

Titanic

Par.

$1,166,435,200

$658,672,302

1997^

6

The Ten Commandments

Par.

$1,127,910,000

$65,500,000

1956

7

Jaws

Uni.

$1,102,758,600

$260,000,000

1975

8

Doctor Zhivago

MGM

$1,068,806,300

$111,721,910

1965

9

The Exorcist

WB

$952,258,800

$232,906,145

1973^

10

Snow White and the Seven Dwarfs

Dis.

$938,490,000

$184,925,486

1937^

11

101 Dalmatians

Dis.

$860,287,500

$144,880,014

1961^

12

The Empire Strikes Back

Fox

$845,335,300

$290,475,067

1980^

13

Ben-Hur

MGM

$843,780,000

$74,000,000

1959

14

Avatar

Fox

$837,367,900

$760,507,625

2009^

15

Return of the Jedi

Fox

$809,851,500

$309,306,177

1983^

16

Jurassic Park

Uni.

$791,448,000

$402,453,882

1993^

17

Star Wars: Episode I - The Phantom Menace

Fox

$777,587,000

$474,544,677

1999^

18

The Lion King

BV

$767,550,700

$422,783,777

1994^

19

The Sting

Uni.

$767,520,000

$156,000,000

1973

20

Raiders of the Lost Ark

Par.

$762,215,600

$248,159,971

1981^

21

The Graduate

AVCO

$736,815,800

$104,945,305

1967^

22

Fantasia

Dis.

$715,004,300

$76,408,097

1941^

23

Star Wars: The Force Awakens

BV

$686,425,600

$686,425,583

2015

24

Jurassic World

Uni.

$680,636,600

$652,270,625

2015

25

The Godfather

Par.

$679,523,300

$134,966,411

1972^

26

Forrest Gump

Par.

$676,854,200

$330,252,182

1994^

27

Mary Poppins

Dis.

$673,145,500

$102,272,727

1964^

28

Grease

Par.

$662,704,800

$188,755,690

1978^

29

Marvel's The Avengers

BV

$661,947,300

$623,357,910

2012

30

Thunderball

UA

$644,028,000

$63,595,658

1965

31

The Dark Knight

WB

$641,060,600

$534,858,444

2008^

32

The Jungle Book

Dis.

$634,384,100

$141,843,612

1967^

33

Sleeping Beauty

Dis.

$625,740,800

$51,600,000

1959^

34

Ghostbusters

Col.

$612,805,800

$242,212,467

1984^

35

Shrek 2

DW

$611,748,500

$441,226,247

2004

36

Butch Cassidy and the Sundance Kid

Fox

$607,503,100

$102,308,889

1969

37

Love Story

Par.

$602,684,000

$106,397,186

1970

38

Spider-Man

Sony

$598,263,700

$403,706,375

2002

39

Independence Day

Fox

$596,405,000

$306,169,268

1996^

40

Home Alone

Fox

$583,191,400

$285,761,243

1990

41

Pinocchio

Dis.

$580,342,700

$84,254,167

1940^

42

Cleopatra (1963)

Fox

$578,449,600

$57,777,778

1963

43

Beverly Hills Cop

Par.

$578,161,700

$234,760,478

1984

44

Goldfinger

UA

$570,843,000

$51,081,062

1964

45

Airport

Uni.

$569,218,200

$100,489,151

1970

46

American Graffiti

Uni.

$565,800,000

$115,000,000

1973

47

The Robe

Fox

$563,563,600

$36,000,000

1953

48

Pirates of the Caribbean: Dead Man's Chest

BV

$556,450,200

$423,315,812

2006

49

Around the World in 80 Days

UA

$556,338,500

$42,000,000

1956

50

Bambi

RKO

$548,564,200

$102,247,150

1942^

51

Blazing Saddles

WB

$544,493,200

$119,601,481

1974^

52

Batman

WB

$542,039,300

$251,188,924

1989

53

The Bells of St. Mary's

RKO

$540,235,300

$21,333,333

1945

54

The Lord of the Rings: The Return of the King

NL

$530,717,800

$377,845,905

2003^

55

Finding Nemo

BV

$530,259,900

$380,843,261

2003^

56

The Towering Inferno

Fox

$528,444,400

$116,000,000

1974

57

Spider-Man 2

Sony

$517,966,800

$373,585,825

2004

58

My Fair Lady

WB

$516,600,000

$72,000,000

1964

59

The Greatest Show on Earth

Par.

$516,600,000

$36,000,000

1952

60

National Lampoon's Animal House

Uni.

$515,655,200

$141,600,000

1978^

61

The Passion of the Christ

NM

$514,058,700

$370,782,930

2004^

62

Star Wars: Episode III - Revenge of the Sith

Fox

$510,784,700

$380,270,577

2005^

63

Back to the Future

Uni.

$508,426,100

$210,609,762

1985

64

The Lord of the Rings: The Two Towers

NL

$497,014,700

$342,551,365

2002^

65

The Dark Knight Rises

WB

$495,779,300

$448,139,099

2012

66

The Sixth Sense

BV

$495,756,300

$293,506,292

1999

67

Superman

WB

$493,853,500

$134,218,018

1978

68

Tootsie

Col.

$489,942,900

$177,200,000

1982

69

Smokey and the Bandit

Uni.

$489,331,500

$126,737,428

1977

70

West Side Story

MGM

$481,904,200

$43,656,822

1961

71

Harry Potter and the Sorcerer's Stone

WB

$481,410,800

$317,575,550

2001

72

Lady and the Tramp

Dis.

$479,877,400

$93,602,326

1955^

73

Close Encounters of the Third Kind

Col.

$478,505,400

$132,088,635

1977^

74

Lawrence of Arabia

Col.

$476,852,400

$44,824,144

1962^

75

The Rocky Horror Picture Show

Fox

$474,147,700

$112,892,319

1975

76

Rocky

UA

$473,894,200

$117,235,147

1976

77

The Best Years of Our Lives

RKO

$473,550,000

$23,650,000

1946

78

The Poseidon Adventure

Fox

$472,705,900

$84,563,118

1972

79

The Lord of the Rings: The Fellowship of the Ring

NL

$471,821,800

$315,544,750

2001^

80

Twister

WB

$470,864,800

$241,721,524

1996

81

Men in Black

Sony

$470,249,600

$250,690,539

1997

82

The Bridge on the River Kwai

Col.

$468,384,000

$27,200,000

1957

83

Transformers: Revenge of the Fallen

P/DW

$464,087,000

$402,111,870

2009

84

It's a Mad, Mad, Mad, Mad World

MGM

$463,867,300

$46,332,858

1963

85

Swiss Family Robinson

Dis.

$463,286,900

$40,356,000

1960

86

One Flew Over the Cuckoo's Nest

UA

$462,230,900

$108,981,275

1975

87

M.A.S.H.

Fox

$462,221,000

$81,600,000

1970

88

Indiana Jones and the Temple of Doom

Par.

$460,917,600

$179,870,271

1984

89

Avengers: Age of Ultron

BV

$460,868,500

$459,005,868

2015

90

Star Wars: Episode II - Attack of the Clones

Fox

$460,363,500

$310,676,740

2002^

91

Mrs. Doubtfire

Fox

$453,612,500

$219,195,243

1993

92

Aladdin

BV

$451,528,600

$217,350,219

1992

93

Toy Story 3

BV

$449,458,100

$415,004,880

2010

94

Ghost

Par.

$443,115,600

$217,631,306

1990

95

The Hunger Games: Catching Fire

LGF

$440,097,100

$424,668,047

2013

96

Duel in the Sun

Selz.

$439,285,700

$20,408,163

1946

97

The Hunger Games

LGF

$437,932,700

$408,010,692

2012

98

Pirates of the Caribbean: The Curse of the Black Pearl

BV

$436,087,000

$305,413,918

2003

99

House of Wax

WB

$435,079,800

$23,750,000

1953

100

Rear Window

Par.

$433,554,300

$36,764,313

1954^

101

The Lost World: Jurassic Park

Uni.

$429,724,700

$229,086,679

1997

102

Indiana Jones and the Last Crusade

Par.

$425,476,000

$197,171,806

1989

103

Monsters, Inc.

BV

$424,930,400

$289,916,256

2001^

104

Frozen

BV

$422,243,200

$400,738,009

2013

105

Spider-Man 3

Sony

$421,152,000

$336,530,303

2007

106

Iron Man 3

BV

$420,239,900

$409,013,994

2013

107

Terminator 2: Judgment Day

TriS

$418,931,400

$204,843,345

1991

108

Sergeant York

WB

$414,340,700

$16,361,885

1941

109

How the Grinch Stole Christmas

Uni.

$414,199,800

$260,044,825

2000

110

Top Gun

Par.

$413,495,900

$179,800,601

1986^

111

Harry Potter and the Deathly Hallows Part 2

WB

$413,193,100

$381,011,219

2011

112

Toy Story 2

BV

$411,872,400

$245,852,179

1999^

113

Shrek

DW

$407,172,400

$267,665,011

2001

114

Shrek the Third

P/DW

$403,869,000

$322,719,944

2007

115

Despicable Me 2

Uni.

$403,758,200

$368,061,265

2013

116

The Matrix Reloaded

WB

$402,052,000

$281,576,461

2003

117

Transformers

P/DW

$399,521,800

$319,246,193

2007

118

Crocodile Dundee

Par.

$397,803,200

$174,803,506

1986

119

The Four Horsemen of the Apocalypse

MPC

$395,357,100

$9,183,673

1921

120

Saving Private Ryan

DW

$393,882,300

$216,540,909

1998

121

Young Frankenstein

Fox

$393,023,000

$86,273,333

1974

122

Peter Pan

Dis.

$392,818,600

$87,404,651

1953^

123

Gremlins

WB

$391,601,400

$153,083,102

1984^

124

Beauty and the Beast

BV

$390,581,600

$218,967,620

1991^

125

The Chronicles of Narnia: The Lion, the Witch and the Wardrobe

BV

$388,967,200

$291,710,957

2005

126

Harry Potter and the Goblet of Fire

WB

$388,959,100

$290,013,036

2005

127

Pirates of the Caribbean: At World's End

BV

$387,225,300

$309,420,425

2007

128

Harry Potter and the Chamber of Secrets

WB

$386,725,700

$261,988,482

2002

129

The Fugitive

WB

$382,260,900

$183,875,760

1993

130

The Caine Mutiny

Col.

$382,178,600

$21,750,000

1954

131

Iron Man

Par.

$381,817,000

$318,412,101

2008

132

Transformers: Dark of the Moon

P/DW

$381,086,300

$352,390,543

2011

133

Meet the Fockers

Uni.

$380,329,700

$279,261,160

2004

134

Indiana Jones and the Kingdom of the Crystal Skull

Par.

$380,256,400

$317,101,119

2008

135

Toy Story

BV

$377,706,300

$191,796,233

1995^

136

Dances with Wolves

Orion

$376,250,900

$184,208,848

1990

137

An Officer and a Gentleman

Par.

$375,885,500

$129,795,554

1982

138

2001: A Space Odyssey

MGM

$373,127,400

$56,954,992

1968^

139

Rain Man

MGM

$372,741,500

$172,825,435

1988

140

Guess Who's Coming to Dinner

Col.

$372,442,800

$56,666,667

1967

141

Inside Out

BV

$371,871,000

$356,461,711

2015

142

American Sniper

WB

$370,918,800

$350,126,372

2014

143

Kramer Vs. Kramer

Col.

$370,404,300

$106,260,000

1979

144

Armageddon

BV

$370,061,400

$201,578,182

1998

145

Psycho

Uni.

$367,360,100

$32,000,000

1960

146

Rocky III

UA

$366,039,100

$125,049,125

1982^

147

Harry Potter and the Order of the Phoenix

WB

$365,430,300

$292,004,738

2007

148

Rambo: First Blood Part II

TriS

$364,810,400

$150,415,432

1985

149

Batman Forever

WB

$364,254,700

$184,031,112

1995

150

Pretty Woman

BV

$363,139,000

$178,406,268

1990

151

Earthquake

Uni.

$362,925,900

$79,666,653

1974

152

Alice in Wonderland (2010)

BV

$361,935,300

$334,191,110

2010

153

The Incredibles

BV

$361,877,900

$261,441,092

2004

154

Cast Away

Fox

$360,709,000

$233,632,142

2000

155

Home Alone 2: Lost in New York

Fox

$360,325,000

$173,585,516

1992

156

Three Men and a Baby

BV

$359,069,500

$167,780,960

1987

157

My Big Fat Greek Wedding

IFC

$356,621,700

$241,438,208

2002

158

Guardians of the Galaxy

BV

$354,538,800

$333,176,600

2014

159

Furious 7

Uni.

$353,214,900

$353,007,020

2015

160

Mission: Impossible

Par.

$352,546,100

$180,981,856

1996

161

The Hunger Games: Mockingjay - Part 1

LGF

$350,658,600

$337,135,885

2014

162

Minions

Uni.

$350,580,300

$336,045,770

2015

163

Saturday Night Fever

Par.

$349,606,800

$94,213,184

1977

164

On Golden Pond

Uni.

$349,431,100

$119,285,432

1981

165

Austin Powers: The Spy Who Shagged Me

NL

$349,213,600

$206,040,086

1999

166

Harry Potter and the Half-Blood Prince

WB

$348,456,400

$301,959,197

2009

167

Bruce Almighty

Uni.

$346,726,400

$242,829,261

2003

168

Harry Potter and the Prisoner of Azkaban

WB

$345,982,100

$249,541,069

2004

169

Funny Girl

Col.

$344,739,700

$52,223,306

1968^

170

Mission: Impossible II

Par.

$344,096,300

$215,409,889

2000

171

Rush Hour 2

NL

$344,041,400

$226,164,286

2001

172

Apollo 13

Uni.

$343,175,100

$173,837,933

1995^

173

Patton

Fox

$343,010,000

$61,749,765

1970

174

Fatal Attraction

Par.

$341,651,200

$156,645,693

1987

175

Liar Liar

Uni.

$340,293,100

$181,410,615

1997

176

Robin Hood: Prince of Thieves

WB

$338,456,700

$165,493,908

1991

177

Beverly Hills Cop II

Par.

$338,377,500

$153,665,036

1987

178

Iron Man 2

Par.

$338,371,200

$312,433,331

2010

179

Up

BV

$338,147,200

$293,004,164

2009

180

Batman Returns

WB

$337,826,700

$162,831,698

1992

181

Signs

BV

$337,801,700

$227,966,634

2002

182

Superman II

WB

$335,064,400

$108,185,706

1981

183

The Twilight Saga: New Moon

Sum.

$335,015,800

$296,623,634

2009

184

What's Up, Doc?

WB

$334,270,600

$66,000,000

1972

185

9 to 5

Fox

$330,606,400

$103,290,500

1980

186

The Firm

Par.

$329,318,700

$158,348,367

1993

187

Who Framed Roger Rabbit

BV

$327,750,600

$156,452,370

1988

188

Skyfall

Sony

$325,819,600

$304,360,277

2012

189

The Hobbit: An Unexpected Journey

WB (NL)

$325,748,200

$303,003,568

2012

190

The Twilight Saga: Eclipse

Sum.

$325,481,500

$300,531,751

2010

191

Porky's

Fox

$324,787,900

$111,289,673

1982^

192

Air Force One

Sony

$324,361,700

$172,956,409

1997

193

Stir Crazy

Col.

$324,235,300

$101,300,000

1980

194

A Star Is Born (1976)

WB

$323,380,300

$80,000,000

1976

195

There's Something About Mary

Fox

$322,691,000

$176,484,651

1998

196

Cars

BV

$320,848,000

$244,082,982

2006

197

The Hangover

WB

$319,998,400

$277,322,503

2009

198

Lethal Weapon 2

WB

$319,359,400

$147,253,986

1989

199

Night at the Museum

Fox

$318,928,200

$250,863,268

2006

200

Harry Potter and the Deathly Hallows Part 1

WB

$318,476,900

$295,983,305

2010

Hookup...

This is interesting...effective and honest.

Made and submitted anonymously...what a strange idea!

Taking Dogme to an other level...why?


Takeaway Scenes: The Rule...

I. Scenes are composed of 2-5 actors, no exceptions. 

II. Scene scripts must be adapted from a stageplay or originally written.

III. Scenes must be filmed in a single continuous take. No cuts. No cheating.

IV. Camera submits to the performers. It should not inflict itself upon them. 

V. Film lights are prohibited. Only natural lighting or practicals allowed (e.g. a lamp, a fire, car headlights).

VI. Participating actors must write their own character backstories.

VII. After shooting, the favored take must be selected within 24 hours with the actors present to review takes if they desire and are available. 

VIII. No music may be added in post.

IX. There will never be credits for anyone involved. Participants will never publicly reveal or acknowledge their own involvement with a scene, or release any information that would reveal anyone else’s involvement with the Takeaway Scenes project.

X. Scenes will only be featured on official Takeaway Scenes channels with a distinct number/word moniker. 


Principles

I. Honesty is king. 

II. Perfection does not exist. There is only experimentation.

III. There are no schedules, regular events, or deadlines. There are only scenes, and the people crazy enough to make them.

Website: http://www.takeawayscenes.com/

Teddy @ 30...

Teddyaward Black

The only official LGBTIQ film prize at an A-festival in the world is celebrating its 30th anniversary: the Teddy Award. An offshoot of the Panorama, the prize has been awarded since 1987 in the categories Short Film, Documentary and Feature to works relevant to queer culture. Eligible every year are films from all of the Berlinale sections. Meanwhile, the award has achieved international significance. This year’s anniversary programme will present a total of 16 films.

1 Berlin Harlem – Germany (Federal Republic), 1974
By Lothar Lambert, Wolfram Zobus

Legendary film from super-indy filmmaker Lambert, one time most-featured Berlinale director, about the forms of racism in Berlin’s vibrant lifestyle at the time of the film's making. Brimming with cameos galore: alongside leading actor Conrad Jennings the likes of Ortrud Beginnen, Tally Brown, Ingrid Caven, Peter Chatel, Rainer Werner Fassbinder, Günter Kaufmann, Dietmar Kracht, Evelyn Künneke, Lothar Lambert, Y Sa Lo, Bernd Lubowski, Brigitte Mira, Vera Müller can all be seen.

 

Anders als die Andern (Different from the Others) - Germany, 1919
By Richard Oswald

A significant world premiere: realised by the Outfest UCLA Legacy Project/UCLA Film & Television Archive, the newly-restored version of this cultural document of immeasurable value is screened for the first time – in a 35mm print, still the only reliable archive medium.

 

Before Stonewall – USA, 1984
By Greta Schiller, Robert Rosenberg
Info-Schau (former title of Panorama) 1985

The legendary film from Greta Schiller reveals a lot which is missing from Roland Emmerich's Stonewall - but nevertheless agrees with him in quite a few details. The world "before Stonewall", the beginning of the post-war gay rights movement: the German portrait of this dark Adenauer era in which homosexuals were transferred directly from concentration camps to West German correctional facilities and have not been rehabilitated is yet to come.
Greta Schiller later gained renown with Paris Was A Woman which she screened together with her partner and screenwriter Andrea Weiß in the 1996 Panorama.

 

Die Betörung der Blauen Matrosen (The Enchantment of the Blue Sailors) - Germany (Federal Republic), 1975
By Ulrike Ottinger

Ulrike Ottinger won the Special Teddy Award in 2014 for her incomparable lifetime achievement, of which this enchanting queer film is an early example even before her groundbreaking films Madame X and Bildnis einer Trinkerin (Ticket of No Return).

 

Die Wiese der Sachen (The Meadow of Things) - Germany (Federal Republic), 1974-1987
By Heinz Emigholz
Panorama / Teddy Award winner 1988

At a time when New German Cinema still appeared to be elusive, this artist and architect amongst West German filmmakers inspired with strikingly visual collages, associative streams and intellectual juxtapositions. An important work from an important German filmmaker.

 

Gendernauts - Eine Reise durch die Geschlechter (Gendernauts - A Journey Through Shifting Identities) - Germany, 1999
By Monika Treut
Panorama / Teddy Award winner 1999

One of the early researchers into the walled-in, gender-dualistic world of female and male, Monika Treut is at once a pioneer and veteran of Queer Cinema - an icon of the emancipation movement. She has screened numerous works in Panorama.

 

I Shot Andy Warhol – USA, 1996
By Mary Harron

The attempted assassination of Andy Warhol from the perspective of Factory member, artist, writer and publisher of the S.C.U.M. Manifesto Valerie Solanas. Mary Harron's debut film was produced by Christine Vachon who, with her Killer Films production company, has produced many works screened at the Berlinale and Teddy Award winners including all of Todd Haynes' films.

 

Je, tu, il, elle (I, You, He, She) - France / Belgium, 1974
By Chantal Akerman

In her boundary-breaking feature debut Chantal Akermann herself plays a young woman who seeks to address her experience of isolation through the study of other individuals. In tribute to Chantal Akerman, Panorama is screening two of her films: alongside Je, tu, il, elle, her Panorama film from 1983, Toute une nuit (A Whole Night).

 

Looking for Langston - United Kingdom, 1989
By Isaac Julien
Panorama / Teddy Award winner 1989

Now a star of the video art world, Isaac Julien has always first and foremost been a poetical activist, aesthete and cultural historian in the service of emancipation. This montage of archive material, dramatised scenes and literary texts creates an image of black gay identity exemplified by the life and work of Langston Hughes during the “Harlem Renaissance” in 1930s and 1940s New York City.

 

Machboim (Hide and Seek) – Israel, 1979
By Dan Wolman
Info-Schau (former title of Panorama) 1980

Today it is exactly the same as 36 years ago: love between Arabs and Jews is punished, hate and murder are accepted as normality. Dan Wolman casts a brave early look at this never-to-be-accepted situation.

 

Marble Ass – Federal Republic of Yugoslavia, 1995
By Želimir Žilnik
Panorama / Teddy Award winner 1995

Žilnik counters the homophobia and transphobia of Balkan societies which came to light years after the fall of the Berlin Wall with an early and anarchistic stand in what is still, to this day, one of the most extraordinary films to emerge from the entire region

 

Nitrate Kisses – USA, 1992
By Barbara Hammer
Forum 1993

A never seen in this way before, sensitively creative conquest of the female sexual realm, radically beyond the prescriptions of mainstream culture. Barbara Hammer has screened many of her works at the Berlinale.

 

The Watermelon Woman – USA, 1996
By Cheryl Dunye
Panorama / Teddy Award winner 1996

Racist tendencies might appear to have been expunged from emancipation and gender discourse – but this is far from being the case. The racism inherent in mainstream culture is not necessarily recognised as such by alternative thinkers. Dunye takes a stance with a reflection on a representative figure of this complex issue.

 

Tongues Untied – USA, 1989
By Marlon Riggs
Panorama / Teddy Award winner 1990

An early work of queer black emancipation from the then beacon of hope in the Afro-American gay rights movement – another artist and intellectual who died far too young from AIDS.

 

Toute une nuit (A Whole Night) - France / Belgium, 1982
By Chantal Akerman
Info-Schau (former title of Panorama) 1983

The director at the forefront of the post-war gender debate was already present in only the third year of the Info-Schau with this film. Virtuoso atmospheres between people and things, between spirit and world and time and space distinguish the work of this passionate artist who took her own life in October 2015. Panorama is screening two films in tribute to Chantal Akerman: alongside Toute une nuit, her debut from 1974, the radical Je, tu, il, elle (I, You, He, She).

 

Tras el cristal (In a Glass Cage) – Spain, 1987
By Agustí Vilaronga

A scandalous film at the time of making: an old Nazi and his young carer in Spain. A truly dark work about dark subject matters, the concealment and unrepentant nature of the post-fascist Spanish world when it had not yet begun to grapple analytically and politically with those grim times. In 2000 Vilaronga won the Manfred Salzgeber Prize with El Mar.

Sundance 2016...

Sundance1

The Midnight films have been announced and more films will be announced soon; watch sundance.org/festival.

U.S. DRAMATIC COMPETITION
Presenting the world premieres of 16 narrative feature films, the Dramatic Competition offers Festivalgoers a first look at groundbreaking new voices in American independent film.

As You Are / U.S.A. (Director: Miles Joris-Peyrafitte, Screenwriters: Miles Joris-Peyrafitte, Madison Harrison) — As You Are is the telling and retelling of a relationship between three teenagers as it traces the course of their friendship through a construction of disparate memories prompted by a police investigation. Cast: Owen Campbell, Charlie Heaton, Amandla Stenberg, John Scurti, Scott Cohen, Mary Stuart Masterson. World Premiere

The Birth of a Nation / U.S.A. (Director and screenwriter: Nate Parker) — Set against the antebellum South, this story follows Nat Turner, a literate slave and preacher whose financially strained owner, Samuel Turner, accepts an offer to use Nat’s preaching to subdue unruly slaves. After witnessing countless atrocities against fellow slaves, Nat devises a plan to lead his people to freedom. Cast: Nate Parker, Armie Hammer, Aja Naomi King, Jackie Earle Haley, Gabrielle Union, Mark Boone Jr. World Premiere

Christine / U.S.A. (Director: Antonio Campos, Screenwriter: Craig Shilowich) — In 1974, a female TV news reporter aims for high standards in life and love in Sarasota, Florida. Missing her mark is not an option. This story is based on true events. Cast: Rebecca Hall, Michael C. Hall, Maria Dizzia, Tracy Letts, J. Smith-Cameron. World Premiere

Equity / U.S.A. (Director: Meera Menon, Screenwriter: Amy Fox) — A female investment banker, fighting to get a promotion at her competitive Wall Street firm, leads a controversial tech IPO in the post-financial-crisis world, where regulations are tight but pressure to bring in big money remains high. Cast: Anna Gunn, James Purefoy, Sarah Megan Thomas, Alysia Reiner. World Premiere

The Free World / U.S.A. (Director and screenwriter: Jason Lew) — Following his release from a brutal stretch in prison for crimes he didn’t commit, Mo is struggling to adapt to life on the outside. When his world collides with Doris, a mysterious woman with a violent past, he decides to risk his newfound freedom to keep her in his life. Cast: Boyd Holbrook, Elisabeth Moss, Octavia Spencer, Sung Kang, Waleed Zuaiter. World Premiere

Goat / U.S.A. (Director: Andrew Neel, Screenwriters: David Gordon Green, Andrew Neel, Michael Roberts) — Reeling from a terrifying assault, a 19-year-old boy pledges his brother’s fraternity in an attempt to prove his manhood. What happens there, in the name of "brotherhood," tests both the boys and their relationship in brutal ways. Cast: Nick Jonas, Ben Schnetzer, Virginia Gardner, Danny Flaherty, Austin Lyon. World Premiere

The Intervention / U.S.A. (Director and screenwriter: Clea DuVall) — A weekend getaway for four couples takes a sharp turn when one of the couples discovers the entire trip was orchestrated to host an intervention on their marriage. Cast: Melanie Lynskey, Cobie Smulders, Alia Shawkat, Clea DuVall, Natasha Lyonne, Ben Schwartz. World Premiere

Joshy / U.S.A. (Director and screenwriter: Jeff Baena) — Josh treats what would have been his bachelor party as an opportunity to reconnect with his friends. Cast: Thomas Middleditch, Adam Pally, Alex Ross Perry, Nick Kroll, Brett Gelman, Jenny Slate. World Premiere

Lovesong / U.S.A. (Director: So Yong Kim, Screenwriters: So Yong Kim, Bradley Rust Gray) — Neglected by her husband, Sarah embarks on an impromptu road trip with her young daughter and her best friend, Mindy. Along the way, the dynamic between the two friends intensifies before circumstances force them apart. Years later, Sarah attempts to rebuild their intimate connection in the days before Mindy’s wedding. Cast: Jena Malone, Riley Keough, Brooklyn Decker, Amy Seimetz, Ryan Eggold, Rosanna Arquette. World Premiere

Morris from America / U.S.A., Germany (Director and screenwriter: Chad Hartigan) — Thirteen-year-old Morris, a hip-hop loving American, moves to Heidelberg, Germany, with his father. In this completely foreign land, he falls in love with a local girl, befriends his German tutor-turned-confidant, and attempts to navigate the unique trials and tribulations of adolescence. Cast: Markees Christmas, Craig Robinson, Carla Juri, Lina Keller, Jakub Gierszał, Levin Henning. World Premiere

Other People / U.S.A. (Director and screenwriter: Chris Kelly) — A struggling comedy writer, fresh from breaking up with his boyfriend, moves to Sacramento to help his sick mother. Living with his conservative father and younger sisters, David feels like a stranger in his childhood home. As his mother worsens, he tries to convince everyone (including himself) he's "doing okay." Cast: Jesse Plemons, Molly Shannon, Bradley Whitford, Maude Apatow, Zach Woods, June Squibb. World Premiere. DAY ONE FILM

Southside With You / U.S.A. (Director and screenwriter: Richard Tanne) — Southside With You is a chronicle of the summer afternoon in 1989 when the future president of the United States of America, Barack Obama, wooed his future First Lady on an epic first date across Chicago's South Side. Cast: Tika Sumpter, Parker Sawyers, Vanessa Bell Calloway. World Premiere

Spa Night / U.S.A. (Director and screenwriter: Andrew Ahn) — A young Korean-American man works to reconcile his obligations to his struggling immigrant family with his burgeoning sexual desires in the underground world of gay hookups at Korean spas in Los Angeles. Cast: Joe Seo, Haerry Kim, Youn Ho Cho, Tae Song, Ho Young Chung, Linda Han. World Premiere

Swiss Army Man / U.S.A. (Directors and screenwriters: Daniel Scheinert, Daniel Kwan) — Hank, a hopeless man stranded in the wild, discovers a mysterious dead body. Together the two embark on an epic journey to get home. As Hank realizes the body is the key to his survival, this once-suicidal man is forced to convince a dead body that life is worth living. Cast: Paul Dano, Daniel Radcliffe, Mary Elizabeth Winstead. World Premiere

Tallulah / U.S.A. (Director and screenwriter: Sian Heder) — A rootless young woman takes a toddler from a wealthy, negligent mother and passes the baby off as her own in an effort to protect her. This decision connects and transforms the lives of three very different women. Cast: Ellen Page, Allison Janney, Tammy Blanchard, Evan Jonigkeit, Uzo Aduba. World Premiere

White Girl / U.S.A. (Director and screenwriter: Elizabeth Wood) — Summer, New York City: A college student goes to extremes to get her drug dealer boyfriend out of jail. Cast: Morgan Saylor, Brian 'Sene' Marc, Justin Bartha, Chris Noth, India Menuez, Adrian Martinez. World Premiere


U.S. DOCUMENTARY COMPETITION
Sixteen world-premiere American documentaries that illuminate the ideas, people, and events that shape the present day.

Audrie & Daisy / U.S.A. (Directors: Bonni Cohen, Jon Shenk) — After two high school girls in different towns are sexually assaulted by boys they consider friends, online bullying leads each girl to attempt suicide. Tragically, one dies. Assault in the social media age is explored from the perspectives of the girls and boys involved, as well as their torn-apart communities. World Premiere

Author: The JT LeRoy Story / U.S.A. (Director: Jeff Feuerzeig) — As the definitive look inside the mysterious case of 16-year-old literary sensation JT LeRoy—a creature so perfect for his time that if he didn't exist, someone would have had to invent him—this is the strangest story about story ever told. World Premiere

The Bad Kids / U.S.A. (Directors: Keith Fulton, Lou Pepe) — At a remote Mojave Desert high school, extraordinary educators believe that empathy and life skills, more than academics, give at-risk students command of their own futures. This coming-of-age story watches education combat the crippling effects of poverty in the lives of these so-called "bad kids." World Premiere

Gleason / U.S.A. (Director: Clay Tweel) — At the age of 34, Steve Gleason, former NFL defensive back and New Orleans hero, was diagnosed with ALS. Doctors gave him two to five years to live. So that is what Steve chose to do: Live—both for his wife and newborn son and to help others with this disease. World Premiere

Holy Hell / U.S.A. (Director: undisclosed) — Just out of college, a young filmmaker joins a loving, secretive, and spiritual community led by a charismatic teacher in 1980s West Hollywood. Twenty years later, the group is shockingly torn apart. Told through two decades of the filmmaker’s archival materials, this is their story. World Premiere

How to Let Go of the World (and Love All the Things Climate Can't Change) / U.S.A. (Director: Josh Fox) — Do we have a chance to stop the most destructive consequences of climate change, or is it too late? Academy Award-nominated director Josh Fox (Gasland) travels to 12 countries on six continents to explore what we have to let go of—and all of the things that climate can't change. World Premiere

Jim / U.S.A. (Director: Brian Oakes) — The public execution of American conflict journalist James Foley captured the world’s attention, but he was more than just a man in an orange jumpsuit. Seen through the lens of his close childhood friend, Jim moves from adrenaline-fueled front lines and devastated neighborhoods of Syria into the hands of ISIS. World Premiere

Kate Plays Christine / U.S.A. (Director: Robert Greene) — This psychological thriller follows actor Kate Lyn Sheil as she prepares to play the role of Christine Chubbuck, a Florida television host who committed suicide on air in 1974. Christine’s tragic death was the inspiration for Network, and the mysteries surrounding her final act haunt Kate and the production. World Premiere

Kiki / U.S.A., Sweden (Director: Sara Jordenö) — Through a strikingly intimate and visually daring lens, Kiki offers a riveting, complex insight into a safe space created and governed by LGBTQ youths of color, who are demanding happiness and political power. The film is an exciting coming-of-age story about agency, resilience, and the transformative art form of voguing. World Premiere

Life, Animated / U.S.A. (Director: Roger Ross Williams) — Owen Suskind, an autistic boy who could not speak for years, slowly emerged from his isolation by immersing himself in Disney animated movies. Using these films as a roadmap, he reconnects with his loving family and the wider world in this emotional coming-of-age story. World Premiere

Newtown / U.S.A. (Director: Kim A. Snyder) — After joining the ranks of a growing club no one wants to belong to, the people of Newtown, Connecticut, weave an intimate story of resilience. This film traces the aftermath of the worst mass shooting of schoolchildren in American history as the traumatized community finds a new sense of purpose. World Premiere

NUTS! / U.S.A. (Director: Penny Lane) — The mostly true story of Dr. John Romulus Brinkley, an eccentric genius who built an empire with his goat-testicle impotence cure and a million-watt radio station. Animated reenactments, interviews, archival footage, and one seriously unreliable narrator trace his rise from poverty to celebrity and influence in 1920s America. World Premiere

Suited / U.S.A. (Director: Jason Benjamin) — Bindle & Keep, a Brooklyn tailoring company, makes custom suits for a growing legion of gender-nonconforming clients. World Premiere

Trapped / U.S.A. (Director: Dawn Porter) — American abortion clinics are in a fight for survival. Targeted Regulation of Abortion Providers (TRAP) laws are increasingly being passed by states that maintain they ensure women’s safety and health, but as clinics continue to shut their doors, opponents believe the real purpose of these laws is to outlaw abortion. World Premiere

Uncle Howard / U.S.A., United Kingdom (Director: Aaron Brookner)Howard Brookner's first film, Burroughs: The Movie, captured the cultural revolution of downtown New York City in the early '80s. Twenty-five years after his promising career was cut short by AIDS, his nephew sets out to discover Howard's never-before-seen films to create a cinematic elegy about his childhood idol. World Premiere

Weiner / U.S.A. (Directors: Josh Kriegman, Elyse Steinberg) — With unrestricted access to Anthony Weiner's New York City mayoral campaign, this film reveals the human story behind the scenes of a high-profile political scandal as it unfolds, and offers an unfiltered look at how much today's politics is driven by an appetite for spectacle. World Premiere


WORLD CINEMA DRAMATIC COMPETITION
Twelve films from emerging filmmaking talents around the world offer fresh perspectives and inventive styles.

Belgica / Belgium, France, Netherlands (Director: Felix van Groeningen, Screenwriters: Felix van Groeningen, Arne Sierens) — In the midst of Belgium's nightlife scene, two brothers start a bar and get swept up in its success. Cast: Stef Aerts, Tom Vermeir, Charlotte Vandermeersch, Hélène De Vos. World Premiere. DAY ONE FILM

Between Sea and Land / Colombia (Directors: Manolo Cruz, Carlos del Castillo, Screenwriter: Manolo Cruz) — Alberto, who suffers from an illness that binds him into a body that doesn’t obey him, lives with his loving mom, who dedicates her life to him. His sickness impedes him from achieving his greatest dream of knowing the sea, despite one being located just across the street. Cast: Manolo Cruz, Vicky Hernandéz, Viviana Serna, Jorge Cao, Mile Vergara, Javier Sáenz. World Premiere

Brahman Naman / United Kingdom, India (Director: Q, Screenwriter: S. Ramachandran) — When Bangalore University’s misfit quiz team manages to get into the national championships, they make an alcohol-fueled, cross-country journey to the competition, determined to defeat their arch-rivals from Calcutta while all desperately trying to lose their virginity. Cast: Shashank Arora, Tanmay Dhanania, Chaitanya Varad, Vaiswath Shankar, Sindhu Sreenivasa Murthy, Sid Mallya. World Premiere

A Good Wife / Serbia, Bosnia, Croatia (Director: Mirjana Karanovic, Screenwriters: Mirjana Karanovic, Stevan Filipovic, Darko Lungulov) — When 50-year-old Milena finds out about the terrible past of her seemingly ideal husband, while simultaneously learning of her own cancer diagnosis, she begins an awakening from the suburban paradise she has been living in. Cast: Mirjana Karanovic, Boris Isakovic, Jasna Djuricic, Bojan Navojec, Hristina Popovic, Ksenija Marinkovic. World Premiere

Halal Love (and Sex) / Lebanon, Germany, United Arab Emirates (Director and screenwriter: Assad Fouladkar) — Four tragic yet comic interconnected stories come together in this film, which follows devout Muslim men and women as they try to manage their love lives and desires without breaking any of their religion’s rules. Cast: Darine Hamze, Rodrigue Sleiman, Zeinab Khadra, Hussein Mokadem, Mirna Moukarzel, Ali Sammoury. International Premiere

The Lure / Poland (Director: Agnieszka Smoczynska, Screenwriter: Robert Bolesto) — Two mermaid sisters, who end up performing at a nightclub, face cruel and bloody choices when one of them falls in love with a beautiful young man. Cast: Marta Mazurek, Michalina Olszanska, Jakub Gierszal, Kinga Preis, Andrzej Konopka, Zygmunt Malanowicz. International Premiere

Male Joy, Female Love / China (Director and screenwriter: Yao Huang) — Portrays an unlimited cycle of love stories. Cast: Nan Yu, Daizhen Ying, Xiaodong Guo, Yi Sun. World Premiere

Mammal / Ireland, Luxembourg, Netherlands (Director: Rebecca Daly, Screenwriters: Rebecca Daly, Glenn Montgomery) — After Margaret, a divorcée living in Dublin, loses her teenage son, she develops an unorthodox relationship with Joe, a homeless youth. Their tentative trust is threatened by his involvement with a violent gang and the escalation of her ex-husband's grieving rage. Cast: Rachel Griffiths, Barry Keoghan, Michael McElhatton. World Premiere

Mi Amiga del Parque / Argentina, Uruguay (Director: Ana Katz, Screenwriters: Ana Katz, Inés Bortagaray) — Running away from a bar without paying the bill is just the first adventure for Liz (mother to newborn Nicanor) and Rosa (supposed mother to newborn Clarisa). This budding friendship between nursing mothers starts with the promise of liberation but soon ends up being a dangerous business. Cast: Julieta Zylberberg, Ana Katz, Maricel Álvarez, Mirella Pascual, Malena Figó, Daniel Hendler. International Premiere

Much Ado About Nothing / Chile (Director: Alejandro Fernández, Screenwriters: Alejandro Fernández, Jerónimo Rodríguez) — An upper-class kid gets in trouble with the one percent. Cast: Agustín Silva, Alejandro Goic, Luis Gnecco, Paulina García, Daniel Alcaino, Augusto Schuster. World Premiere

Sand Storm / Israel (Director and screenwriter: Elite Zexer) — When their entire lives are shattered, two Bedouin women struggle to change the unchangeable rules, each in her own individual way. Cast: Lamis Ammar, Ruba Blal-Asfour, Hitham Omari, Khadija Alakel, Jalal Masrwa. World Premiere

Wild / Germany (Director and screenwriter: Nicolette Krebitz) — An anarchist young woman breaks the tacit contract with civilization and fearlessly decides on a life without hypocrisy or an obligatory safety net. Cast: Lilith Stangenberg, Georg Friedrich. World Premiere


WORLD CINEMA DOCUMENTARY COMPETITION
Twelve documentaries by some of the most courageous and extraordinary international filmmakers working today.
Eleven documentaries are listed below, and a twelfth will be announced in the weeks ahead.

All These Sleepless Nights / Poland (Director: Michal Marczak) — What does it mean to be truly awake in a world that seems satisfied to be asleep? Kris and Michal push their experiences of life and love to a breaking point as they restlessly roam the streets of Warsaw in search for answers. World Premiere

A Flag Without a Country / Iraq (Director: Bahman Ghobadi) — This documentary follows the very separate paths of singer Helly Luv and pilot Nariman Anwar from Kurdistan, both in pursuit of progress, freedom, and solidarity. Both individuals are a source of strength to their society, which perpetually deals with the harsh conditions of life, war, and ISIS attacks. North American Premiere

Hooligan Sparrow / China, U.S.A. (Director: Nanfu Wang) — Traversing southern China, a group of activists led by Ye Haiyan, a.k.a. Hooligan Sparrow, protest a scandalous incident in which a school principal and a government official allegedly raped six students. Sparrow becomes an enemy of the state, but detentions, interrogations and evictions can’t stop her protest from going viral. World Premiere

The Land of the Enlightened / Belgium (Director: Pieter-Jan De Pue) — A group of Kuchi children in Afghanistan dig out old Soviet mines and sell the explosives to child workers in a lapis lazuli mine. When not dreaming of an Afghanistan after the American withdrawal, Gholam Nasir and his gang control the mountains where caravans are smuggling the blue gemstones. World Premiere

The Lovers and the Despot / United Kingdom (Directors: Robert Cannan, Ross Adam) — Following the collapse of their glamorous romance, a celebrity director and his actress ex-wife are kidnapped by movie-obsessed dictator Kim Jong-il. Forced to make films in extraordinary circumstances, they get a second chance at love—but only one chance at escape. World Premiere

Plaza de la Soledad / Mexico (Director: Maya Goded) — For over 20 years, photographer Maya Goded has intimately documented the lives of a close community of prostitutes in Mexico City. With dignity and humor, these women now strive for a better life — and the possibility of true love. World Premiere

The Settlers / France, Canada, Israel, Germany (Director: Shimon Dotan) — The first film of its kind to offer a comprehensive view of the Jewish settlements in the West Bank, The Settlers is a historical overview, geopolitical study, and intimate look at the people at the core of the most daunting challenge facing Israel and the international community today. World Premiere

Sky Ladder: The Art of Cai Guo-Qiang / U.S.A. (Director: Kevin Macdonald) — Having reached the pinnacle of the global art world with his signature explosion events and gunpowder drawings, world-famous Chinese contemporary artist Cai Guo-Qiang is still seeking more. We trace his rise from childhood in Mao’s China and his journey to attempt to realize his lifelong obsession, Sky Ladder. World Premiere. DAY ONE FILM

Sonita / Germany, Iran, Switzerland (Director: Rokhsareh Ghaem Maghami) — If 18-year-old Sonita had a say, Michael Jackson and Rihanna would be her parents and she'd be a rapper who tells the story of Afghan women and their fate as child brides. She finds out that her family plans to sell her to an unknown husband for $9,000. North American Premiere

We Are X / United Kingdom, U.S.A., Japan (Director: Stephen Kijak) — As glam rock's most flamboyant survivors, X Japan ignited a musical revolution in Japan during the late '80s with their melodic metal. Twenty years after their tragic dissolution, X Japan’s leader, Yoshiki, battles with physical and spiritual demons alongside prejudices of the West to bring their music to the world. World Premiere

When Two Worlds Collide / Peru (Directors: Heidi Brandenburg, Mathew Orzel) — An indigenous leader resists the environmental ruin of Amazonian lands by big business. As he is forced into exile and faces 20 years in prison, his quest reveals conflicting visions that shape the fate of the Amazon and the climate future of our world. World Premiere


NEXT
Pure, bold works distinguished by an innovative, forward-thinking approach to storytelling populate this program. Digital technology paired with unfettered creativity promises that the films in this section will shape a “greater” next wave in American cinema. Presented by Adobe.

THE 4TH / U.S.A. (Director and screenwriter: Andre Hyland) — It's the Fourth of July in Los Angeles, and Jamie, a broke illustrator who is behind on his rent, tries to throw a cookout while his overbearing roommate is out of town, but everything seems to go wrong. Cast: Andre Hyland, Johnny Pemberton, Eliza Coupe, Yasmine Kittles, Anna Lee Lawson, Paul Erling Oyen. World Premiere

Dark Night / U.S.A. (Director and screenwriter: Tim Sutton) — A suburban landscape plays witness to the inevitable, unfolding events that culminate in a Cineplex massacre. Over the course of one day, from sunrise to midnight, six strangers—the shooter among them—share in this new American nightmare. Cast: Robert Jumper, Anna Rose, Rosie Rodriguez, Karina Macias, Aaron Purvis, Eddie Cacciola. World Premiere

The Eyes of My Mother / U.S.A. (Director and screenwriter: Nicolas Pesce) — A young, lonely woman is consumed by her deepest and darkest desires after tragedy strikes her quiet country life. Cast: Kika Magalhães, Will Brill, Paul Nazak, Flora Diaz, Clara Wong, Diana Agostini. World Premiere

First Girl I Loved / U.S.A. (Director and screenwriter: Kerem Sanga) — Seventeen-year-old Anne just fell in love with Sasha, the most popular girl at her L.A. public high school. But when Anne tells her best friend, Clifton—who has always harbored a secret crush on her—he does his best to get in the way. Cast: Dylan Gelula, Brianna Hildebrand, Mateo Arias, Jennifer Prediger, Tim Heidecker, Pamela Adlon. World Premiere

The Fits / U.S.A., Italy (Director: Anna Rose Holmer, Screenwriters: Anna Rose Holmer, Saela Davis, Lisa Kjerulff) — In this psychological portrait, Toni, an 11-year-old tomboy, is assimilating into a tight-knit dance team in Cincinnati’s West End when a mysterious outbreak of fainting spells plagues the team, and her desire for acceptance is twisted. Cast: Royalty Hightower, Alexis Neblett, Da'Sean Minor, Lauren Gibson, Makyla Burnam, Inayah Rodgers. North American Premiere

How To Tell You're A Douchebag / U.S.A. (Director and screenwriter: Tahir Jetter) — This romantic comedy follows a misogynist who falls in love. Cast: Charles Brice, DeWanda Wise, William Jackson Harper, Alexander Mulzac, Jenna Williams, Tonye Patano. World Premiere

Jacqueline (Argentine) / U.S.A. (Director and screenwriter: Bernardo Britto) — A young French woman hires a man to document her self-imposed political asylum in Argentina after supposedly leaking highly confidential government secrets. Cast: Camille Rutherford, Wyatt Cenac, James Benson, Martin Anderson, Sarah Willis, Enrique Dura. World Premiere

The Land / U.S.A. (Director and screenwriter: Steven Caple Jr.) — Four teenage boys devote their summer to escaping the streets of Cleveland, Ohio, by pursuing a dream life of professional skateboarding. But when they get caught in the web of the local queenpin, their motley brotherhood is tested, threatening to make this summer their last. Cast: Jorge Lendeborg Jr., Moises Arias, Rafi Gavron, Ezri Walker, Erykah Badu, Michael K. Williams. World Premiere

Operation Avalanche / U.S.A., Canada (Director: Matt Johnson, Screenwriters: Matt Johnson, Josh Boles) — In 1967, four undercover CIA agents were sent to NASA posing as a documentary film crew. What they discovered led to one of the biggest conspiracies in American history. Cast: Matt Johnson, Owen Williams, Josh Boles, Ray James. World Premiere

Sleight / U.S.A. (Director: JD Dillard, Screenwriters: JD Dillard, Alex Theurer) — After a young street magician is left to care for his little sister following their mother's passing, he turns to dealing drugs, but quickly runs into trouble with his supplier. When his sister gets kidnapped, he must rely on his smarts and sleight of hand to save her. Cast: Jacob Latimore, Dulé Hill, Seychelle Gabriel, Storm Reid, Sasheer Zamata, Cameron Esposito. World Premiere

Oscar buzz...

...it was announced that two transgender actresses will be the subject of campaigns for the Best Actress and Best Supporting Actress Award this year.

Magnolia Pictures are putting forward Kitana Kiki Rodriguez and Mya Taylor...stars of Tangerine

Tangerine

Now...we liked the film...but, Oscars?!?

The acting was decidedly dodgy in places - with one performance being far dodgier than the other.

The iPhone film was a bit of a gimmick...this is just taking it a bit too far.

Trans*kid doc wins BAFTA...

IamLeo

I am Leo was shown last year on the BBC's kids' channel and has now scooped the Bafta at the British Academy Children’s Awards in the Factual category.

So, we watched it...and all we could see was a publicity-seeking, 13 year old with a flesh tunnel...at 13 years old!!!

Parenting skills...discuss!

Cate Blanchett...

....wants ‘diversity of same-sex couples in film

How sweet of you to say so...

Cate Blanchett

Soon to be seen in Carol...which is out on in the US on November 20 and the UK on November 27.

Xavier & Adele...together again...

AdeleXavier

Adele and Xavier are chatting...about her feature film debut.

The project is to be Dolan's first English-language fim...a drama: The Death and Life of John F. Donovan

Sounds rather interesting...

Rose vs Caitlyn...

RoseCait

Rose McGowan [Charmed] is none too pleased with Caitlyn Jenner...

Jenner said at her acceptance speech for Glamour magazine’s Woman of the Year Award...“the hardest part about being a woman is deciding what to wear”

Rose McGowan replied: "Woman of the year? Not by a f**king long shot’"

 

Emile Griffith biopic...

Emilegriffith

Lenny Abrahamson is planning a film about the bisexual boxer...who pummeled his opponent into unconciousness...he died 10 days later.

Deadline reported Abrahamson as commenting, ‘It is so rich that it’s hard to know where to start. As a character study, Griffith is incredibly compelling. There was a gentleness and innocence about him, and he never seemed conflicted about his sexuality; indeed he found joy in it. He inhabited two worlds — the underground gay scene in New York in the ’60s and the macho world of boxing. The societal stigma at that time was dreadful and created a crushing pressure on him.

‘You look at how closely his two worlds intersected. Just how different are they, when the sport is such a celebration of the male body and the beauty of its athleticism. Go one step further, and inject the tiniest sense of sexuality, and people are up in arms. Griffith himself once said a quote that just floored me. ‘They forgave me for killing a man, but they couldn’t forgive me for loving a man.’ That to me was so powerful and such a crazy contradiction. And it is still relevant today.’

The film will be based on the Donald McRae book A Man’s World: The Double Life of Emile Griffith.

Hopefully, it will be more a more accurate retelling of his story than the 2005 documentary:

Ring of Fire - The Emile Griffith Story

Ron Nyswaner...

...can you please: Shut the f**k up...

RonNyswaner

Writer of Philadelphia and the tepidly received Freeheld...went on a rampage last week at the Vanguard Awards Gala...

We must be careful — as we become mainstream — that we don’t forget we’re the descendants of outlaws and rebels. We must resist the tendency to be de-gayed. One of my recent gay-themed projects had a lot of potential. But the producers became fearful. The gay characters were idealized. Their edges were smoothed out. The conflict between them was softened. Over my vigorous objections by the way, for the record.

Well said.

But now...he has back-tracked...

At last week’s Vanguard Awards Gala, in the glare of the spotlight and the excitement of the moment, I made some remarks that need to be corrected and explained. In a speech that was meant to be a reflection on internalized gay-shame and self-censorship, I denigrated the courage and integrity of my colleagues on the movie Freeheld. These comments were inaccurate and unfair. The producers never suggested that the characters should be anything but thoroughly and proudly gay. We disagreed over the amount of conflict that should be present in their relationship; I won some arguments and lost others. The movie is satisfying and beautiful in many ways, particularly in the performances of the leads. The script that made it to the screen is weaker than it ought to have been and for that I must accept responsibility. I apologize to my colleagues for the pain my comments have caused.

So...shut the f**k up.

How Straight Am I?

BBC3 continues to bombard us with...

...drivel and children masquerading as presenters...

Tyger Drew-Honey is straight...as if anyone cared...skims the surface of modern-day sexuality...

Tennessee Williams biopic...

TennesseeWilliams

Broad Green Pictures is developing a film based on John Lahr’s book, Tennessee Williams: Mad Pilgrimage of the Flesh.

It may happen, it may not...no 'names' as yet are attached.

Johnny Depp...

...has just said that all his characters are gay...

JohnnyDepp

James Bulger - the gangster he portrays in Black Mass...ain't gonna be too happy about that!

In the Heart of the Sea trailer...

...only because we love Ben Whishaw...

 

Intheheartofthesea

 

In the winter of 1820, the New England whaling ship Essex was assaulted by something no one could believe: a whale of mammoth size and will, and an almost human sense of vengeance. The real-life maritime disaster would inspire Herman Melville's Moby-Dick. But that told only half the story. "In the Heart of the Sea" reveals the encounter's harrowing aftermath, as the ship's surviving crew is pushed to their limits and forced to do the unthinkable to stay alive. Braving storms, starvation, panic and despair, the men will call into question their deepest beliefs, from the value of their lives to the morality of their trade, as their captain searches for direction on the open sea and his first mate still seeks to bring the great whale down.

Pansexual Deadpool...

Co-creator Fabian Nicieza said, “Deadpool is whatever sexual inclination his brain tells him he is in THAT moment. And then the moment passes. Not trying to be dismissive, but readers always want to ‘make a character their own’ and often that is to the exclusion of what the character might mean to other fans. I’ve been dogged with the DP sexuality questions for YEARS. It is a bit tiring. He is NO sex and ALL sexes. He is yours and everyone else’s. So not dismissive, but rather the epitome of inclusive.”

Deadpool Movie Logo

Deadpool will be out in pansexual cinemas in February 2016...

Does pansexual mean that bisexuals are - now - extinct?

 

GLAAD...

...can you please shut the f**k up!!!

Michelle Rodriguez

Michelle Rodgriguez's new film: Tomboy, A Revenger’s Tale (which hasn't even started shooting)...has upset that bizarre institution known as GLAAD (what do they actually do?!? Apart from watching too much TV)...

GlaadGLAAD released a statment to The Hollywood Reporter expressing their discontent.

GLAAD’s director of programs for transgender media, Nick Adams, said, “We haven’t read the script, but it’s disappointing to see filmmakers turning what is a life-saving medical procedure for transgender people into a sensationalistic plot device.

“We are at a crucial moment in the public’s understanding of transgender issues, and stories like these have the potential to undermine the progress we’ve worked so hard to achieve.”

A hitman is turned into a hitwoman...that's the plot! Dire, to say the least...aren't you all getting yourselves into a super-sensitive lather about nothing...!

Read the f**king script before you comment...yes, the world is - most definitely - going mad.

John Gielgud wrote a porn film...

...and it's been made!!!

Gielgud

Trouser Bar has been made by David McGillivray (producer of Peter de Rome: Grandfather of Gay Porn)...however, it is unlikely ever to be seen. John Gielgud's estate claim ownership of the copyright...in other words - they want money!!!

Is it a big deal?

No...anyone can write porn...really, they can...even dirty old Knights.

Mr Gielgud was infamously overheard...saying to a stage-hand: I want you to go woosh all over my face!!!

There's a line (and a film) we can do without.

Inside The Rhapsody...

Simply because we love Queen...

This weekend marks the 40th Anniversary of ‘Bohemian Rhapsody’. With over 6.5 million copies sold worldwide to date, ‘Bohemian Rhapsody’ is one of the world’s most well known and well loved songs.

The single has been covered by everyone from Kanye West during his 2015 controversial Glastonbury headline slot, Axl Rose, Elton John and Pink to The Flaming Lips and Elaine Paige and forever immortalized again by Mike Myers and Dana Carvey in the smash hit 90’s film, Wayne’s World.

To mark the anniversary, this weekend kicks off a month of celebrations and unique opportunities for fans to get involved all over the world.

This documentary features Roger Taylor, Brian May and Queen studio engineer Justin Shirley Smith discussing the making and history of hit single Bohemian Rhapsody.

This weekend marks the 40th Anniversary of ‘Bohemian Rhapsody’. With over 6.5 million copies sold worldwide to date, ‘Bohemian Rhapsody’ is one of the world’s most well known and well loved songs.

The single has been covered by everyone from Kanye West during his 2015 controversial Glastonbury headline slot, Axl Rose, Elton John and Pink to The Flaming Lips and Elaine Paige and forever immortalized again by Mike Myers and Dana Carvey in the smash hit 90’s film, Wayne’s World.

Cuffs...

Well...the BBC kept this one rather quiet...

Cuffs

Or, is it just duff marketing...?

Anyway, a gay rookie cop in Brighton...and, there's a lesbian cop and a S&M cop...so many cops to choose from!

London Spy Trailer...

...a five-part miniseries airing in Britain on November 9.

London Spy is the story of a chance romance between two people from very different worlds, one from the headquarters of the Secret Intelligence Service, the other from a world of clubbing and youthful excess.

Whishaw plays Danny – gregarious, hedonistic, romantic and adrift, who falls for the anti-social enigmatic and brilliant Alex (played by [Edward] Holcroft). Just as the two of them realise that they’re perfect for each other, Alex is found dead. Danny, utterly ill-equipped to take on the complex and codified world of British espionage, must decide whether he’s prepared to fight for the truth.

Oscars 2016: Documentary Features...

Oscars
 
One hundred twenty-four features have been submitted for consideration in the Documentary Feature category for the 88th Academy Awards®.
 
Only 8 are of LGBT interest...
 
The submitted features, listed in alphabetical order, are:
 
“Above and Beyond”
“All Things Must Pass”
“Amy”
“The Armor of Light”
“Ballet 422”
“Batkid Begins”
“Becoming Bulletproof”
“Being Evel”
“Beltracchi – The Art of Forgery”
“Best of Enemies”
“The Black Panthers: Vanguard of the Revolution”
“Bolshoi Babylon”
“Brand: A Second Coming”
“A Brave Heart: The Lizzie Velasquez Story”
“Call Me Lucky”
“Cartel Land”
“Censored Voices”
“Champs”
“CodeGirl”
“Coming Home”
“Dark Horse”
“Deli Man”
“Dior and I”
“The Diplomat”
“(Dis)Honesty – The Truth about Lies”
“Don’t Think I’ve Forgotten: Cambodia’s Lost Rock and Roll”
“Dreamcatcher”
“dream/killer”
“Drunk, Stoned, Brilliant, Dead: The Story of the National Lampoon”
“Eating Happiness”
“Every Last Child”
“Evidence of Harm”
“Farewell to Hollywood”
“Finders Keepers”
“The Forecaster”
“Frame by Frame”
“Gardeners of Eden”
“A Gay Girl in Damascus: The Amina Profile”
“Godspeed: The Story of Page Jones”
“Going Clear: Scientology and the Prison of Belief”
“He Named Me Malala”
“Heart of a Dog”
“Hitchcock/Truffaut”
“How to Change the World”
“Human”
“The Hunting Ground”
“I Am Chris Farley”
“In Jackson Heights”
“In My Father’s House”
“India’s Daughter”
“Ingrid Bergman – In Her Own Words”
“Iraqi Odyssey”
“Iris”
“Janis: Little Girl Blue”
“Karski & the Lords of Humanity”
“Killing Them Safely”
“Kurt Cobain: Montage of Heck”
“Lambert & Stamp”
“A Lego Brickumentary”
“Listen to Me Marlon”
“Live from New York!”
“The Look of Silence”
“Meet the Patels”
“Meru”
“The Mind of Mark DeFriest”
“Misery Loves Comedy”
“Monkey Kingdom”
“A Murder in the Park”
“My Italian Secret”
“My Voice, My Life”
“1971”
“Of Men and War”
“One Cut, One Life”
“Only the Dead See the End of War”
“The Outrageous Sophie Tucker”
“Peace Officer”
“The Pearl Button”
“Pink & Blue: Colors of Hereditary Cancer”
“Poached”
“Polyfaces”
“The Prime Ministers: Soldiers and Peacemakers”
“Prophet’s Prey”
“Racing Extinction”
“The Resurrection of Jake the Snake”
“Ride the Thunder – A Vietnam War Story of Victory & Betrayal”
“Rosenwald”
“The Russian Woodpecker”
“Searching for Home: Coming Back from War”
“Seeds of Time”
“Sembene!”
“The Seven Five”
“Seymour: An Introduction”
“Sherpa”
“A Sinner in Mecca”
“Something Better to Come”
“Song from the Forest”
“Song of Lahore”
“Steve Jobs: The Man in the Machine”
“Steve McQueen: The Man & Le Mans”
“Stray Dog”
“Sunshine Superman”
“Sweet Micky for President”
“Tab Hunter Confidential”
“The Tainted Veil”
“Tap World”
“(T)error”
“Thao’s Library”
“Those Who Feel the Fire Burning”
“3 1/2 Minutes, Ten Bullets”
“The Touch of an Angel”
“TransFatty Lives”
“The True Cost”
“Twinsters”
“Very Semi-Serious: A Partially Thorough Portrait of New Yorker Cartoonists”
“The Wanted 18”
“We Are Many”
“We Come as Friends”
“We Were Not Just…Bicycle Thieves. Neorealism”
“Welcome to Leith”
“What Happened, Miss Simone?”
“What Our Fathers Did: A Nazi Legacy”
“Where to Invade Next”
“Winter on Fire: Ukraine’s Fight for Freedom”
“The Wolfpack”
 
Several of the films have not yet had their required Los Angeles and New York qualifying releases.  Submitted features must fulfill the theatrical release requirements and comply with all of the category’s other qualifying rules in order to advance in the voting process.  A shortlist of 15 films will be announced in December.
 
Films submitted in the Documentary Feature category may also qualify for Academy Awards in other categories, including Best Picture, provided they meet the requirements for those categories.
 
The 88th Academy Awards nominations will be announced live on Thursday, January 14, 2016, at 5:30 a.m. PT at the Academy’s Samuel Goldwyn Theater in Beverly Hills.
 
The 88th Oscars® will be held on Sunday, February 28, 2016, at the Dolby Theatre® at Hollywood & Highland Center® in Hollywood, and will be televised live by the ABC Television Network at 7 p.m. ET/4 p.m. PT.  The Oscar presentation also will be televised live in more than 225 countries and territories worldwide.

Brent Corrigan...

...has publicly responded to the news that James Franco is producing a film - King Cobra - based on the 2007 murder of his former boss, gay porn producer Bryan Kocis.

The adult actor, who is set to be portayed by former Disney star Garrett Clayton in the upcoming gay porn drama, took to Facebook to reveal that he refused an offer to be involved in the film, and will instead be releasing a book based on his own recollection of events.

BrentCorrigan

Now...that's a book destined for the bin.

Don't Sneak...

Patrick Haggerty grew up the son of a dairy farmer in rural Dry Creek, Washington, during the 1950s. As a teenager, Pat began to understand he was gay—something he thought he was hiding well. But one day, after performing at a school assembly, Pat learned that his father could see him much more clearly than he realized.

"The Saint of Dry Creek" online release is presented in partnership with the It Gets Better Project (http://www.itgetsbetter.org/)

James Franco...

James Franco

Yes...he's at it again...doin' that gay thang!!!

This time...Bryan Kocis, porn producer and murderer gets the Franco treatment...with Christian Slater playing Kocis.

Thankfully, Sean Paul Lockhart (aka Brent Corrigan) will not be playing himself - that task has been given to a former Disney actor: Garrett Clayton

Justin (I am Michael) Kelly will direct...

Ben Whishaw...

...is baffled.

BenW

“With gay characters being played by straight people, straight characters being played by gay people… come on, we’re actors! I do not understand what the problem is. Actors play all sorts of things. I’ve played murderers, journalists and kings – I’m not any of them.

Ellen Page...Did you hear that?

The words of a RADA trained actor.

Ellen Page...

...can you please shut the f**k up!!!

EllenPage

Matt Damon said...“Whether you’re straight or gay, people shouldn’t know anything about your sexuality......”

Here's what she had to say about that...

“He doesn’t have a point because he related it to sexuality. Heterosexual actors and actresses do not have to go to great lengths to hide their sexuality. Yes, of course, keep your private life private. Protect yourself. Have boundaries. When you’re a public person, you need to think about your safety. But if it’s in relation to sexuality, then no — that’s an unfair double standard. Heterosexual people walk down the red carpet with their partners all the time, they talk about their children…”

Actors...very few have achieved a standard of education that would make them vocally important!!!

As for child stars...the less said, the better.

The Motion Picture Production Code of 1930 (Hays Code)...


If motion pictures present stories that will affect lives for the better, they can become the most powerful force for the improvement of mankind

A Code to Govern the Making of Talking, Synchronized and Silent Motion Pictures. Formulated and formally adopted by The Association of Motion Picture Producers, Inc. and The Motion Picture Producers and Distributors of America, Inc. in March 1930.

Motion picture producers recognize the high trust and confidence which have been placed in them by the people of the world and which have made motion pictures a universal form of entertainment.

They recognize their responsibility to the public because of this trust and because entertainment and art are important influences in the life of a nation.

Hence, though regarding motion pictures primarily as entertainment without any explicit purpose of teaching or propaganda, they know that the motion picture within its own field of entertainment may be directly responsible for spiritual or moral progress, for higher types of social life, and for much correct thinking.

During the rapid transition from silent to talking pictures they have realized the necessity and the opportunity of subscribing to a Code to govern the production of talking pictures and of re-acknowledging this responsibility.

On their part, they ask from the public and from public leaders a sympathetic understanding of their purposes and problems and a spirit of cooperation that will allow them the freedom and opportunity necessary to bring the motion picture to a still higher level of wholesome entertainment for all the people.

General Principles

  1. No picture shall be produced that will lower the moral standards of those who see it. Hence the sympathy of the audience should never be thrown to the side of crime, wrongdoing, evil or sin.
  2. Correct standards of life, subject only to the requirements of drama and entertainment, shall be presented.
  3. Law, natural or human, shall not be ridiculed, nor shall sympathy be created for its violation.

Particular Applications

  1. Crimes Against the Law
    These shall never be presented in such a way as to throw sympathy with the crime as against law and justice or to inspire others with a desire for imitation.
  2. Murder
  3. The technique of murder must be presented in a way that will not inspire imitation.
  4. Brutal killings are not to be presented in detail.
  5. Revenge in modern times shall not be justified.
  6. Methods of Crime should not be explicitly presented.
  7. Theft, robbery, safe-cracking, and dynamiting of trains, mines, buildings, etc., should not be detailed in method.
  8. Arson must subject to the same safeguards.
  9. The use of firearms should be restricted to the essentials.
  10. Methods of smuggling should not be presented.
  11. Illegal drug traffic must never be presented.
  12. The use of liquor in American life, when not required by the plot or for proper characterization, will not be shown.
  13. Sex
    The sanctity of the institution of marriage and the home shall be upheld. Pictures shall not infer that low forms of sex relationship are the accepted or common thing.
  14. Adultery, sometimes necessary plot material, must not be explicitly treated, or justified, or presented attractively.
  15. Scenes of Passion
  16. They should not be introduced when not essential to the plot.
  17. Excessive and lustful kissing, lustful embraces, suggestive postures and gestures, are not to be shown.
  18. In general passion should so be treated that these scenes do not stimulate the lower and baser element.
  19. Seduction or Rape
  20. They should never be more than suggested, and only when essential for the plot, and even then never shown by explicit method.
  21. They are never the proper subject for comedy.
  22. Sex perversion or any inference to it is forbidden.
  23. White slavery shall not be treated.
  24. Miscegenation (sex relationships between the white and black races) is forbidden.
  25. Sex hygiene and venereal diseases are not subjects for motion pictures.
  26. Scenes of actual child birth, in fact or in silhouette, are never to be presented.
  27. Children's sex organs are never to be exposed.

III. Vulgarity
The treatment of low, disgusting, unpleasant, though not necessarily evil, subjects should always be subject to the dictates of good taste and a regard for the sensibilities of the audience.

  1. Obscenity
    Obscenity in word, gesture, reference, song, joke, or by suggestion (even when likely to be understood only by part of the audience) is forbidden.
  2. Profanity
    Pointed profanity (this includes the words, God, Lord, Jesus, Christ - unless used reverently - Hell, S.O.B., damn, Gawd), or every other profane or vulgar expression however used, is forbidden.
  3. Costume
    1. Complete nudity is never permitted. This includes nudity in fact or in silhouette, or any lecherous or licentious notice thereof by other characters in the picture.
  4. Undressing scenes should be avoided, and never used save where essential to the plot.
  5. Indecent or undue exposure is forbidden.
  6. Dancing or costumes intended to permit undue exposure or indecent movements in the dance are forbidden.

VII. Dances
1. Dances suggesting or representing sexual actions or indecent passions are forbidden.

  1. Dances which emphasize indecent movements are to be regarded as obscene.

VIII. Religion
1. No film or episode may throw ridicule on any religious faith.

  1. Ministers of religion in their character as ministers of religion should not be used as comic characters or as villains.
  2. Ceremonies of any definite religion should be carefully and respectfully handled.
  3. Locations
    The treatment of bedrooms must be governed by good taste and delicacy.
  4. National Feelings
    1. The use of the Flag shall be consistently respectful.
  5. The history, institutions, prominent people and citizenry of other nations shall be represented fairly.
  6. Titles
    Salacious, indecent, or obscene titles shall not be used.

XII. Repellent Subjects
The following subjects must be treated within the careful limits of good taste:
1. Actual hangings or electrocutions as legal punishments for crime.
2. Third degree methods.
3. Brutality and possible gruesomeness.
4. Branding of people or animals.
5. Apparent cruelty to children or animals.
6. The sale of women, or a woman selling her virtue.
7. Surgical operations.

Reasons Supporting the Preamble of the Code

  1. Theatrical motion pictures, that is, pictures intended for the theatre as distinct from pictures intended for churches, schools, lecture halls, educational movements, social reform movements, etc., are primarily to be regarded as ENTERTAINMENT.

Mankind has always recognized the importance of entertainment and its value in rebuilding the bodies and souls of human beings.

But it has always recognized that entertainment can be a character either HELPFUL or HARMFUL to the human race, and in consequence has clearly distinguished between:

  1. Entertainment which tends to improve the race, or at least to re-create and rebuild human beings exhausted with the realities of life; and
  2. Entertainment which tends to degrade human beings, or to lower their standards of life and living.

Hence the MORAL IMPORTANCE of entertainment is something which has been universally recognized. It enters intimately into the lives of men and women and affects them closely; it occupies their minds and affections during leisure hours; and ultimately touches the whole of their lives. A man may be judged by his standard of entertainment as easily as by the standard of his work.

So correct entertainment raises the whole standard of a nation.

Wrong entertainment lowers the whole living conditions and moral ideals of a race.

Note, for example, the healthy reactions to healthful sports, like baseball, golf; the unhealthy reactions to sports like cockfighting, bullfighting, bear baiting, etc.

Note, too, the effect on ancient nations of gladiatorial combats, the obscene plays of Roman times, etc.

  1. Motion pictures are very important as ART.

Though a new art, possibly a combination art, it has the same object as the other arts, the presentation of human thought, emotion, and experience, in terms of an appeal to the soul through the senses.

Here, as in entertainment,

Art enters intimately into the lives of human beings.

Art can be morally good, lifting men to higher levels. This has been done through good music, great painting, authentic fiction, poetry, drama.

Art can be morally evil it its effects. This is the case clearly enough with unclean art, indecent books, suggestive drama. The effect on the lives of men and women are obvious.

Note: It has often been argued that art itself is unmoral, neither good nor bad. This is true of the THING which is music, painting, poetry, etc. But the THING is the PRODUCT of some person's mind, and the intention of that mind was either good or bad morally when it produced the thing. Besides, the thing has its EFFECT upon those who come into contact with it. In both these ways, that is, as a product of a mind and as the cause of definite effects, it has a deep moral significance and unmistakable moral quality.

Hence: The motion pictures, which are the most popular of modern arts for the masses, have their moral quality from the intention of the minds which produce them and from their effects on the moral lives and reactions of their audiences. This gives them a most important morality.

  1. They reproduce the morality of the men who use the pictures as a medium for the expression of their ideas and ideals.
  2. They affect the moral standards of those who, through the screen, take in these ideas and ideals.

In the case of motion pictures, the effect may be particularly emphasized because no art has so quick and so widespread an appeal to the masses. It has become in an incredibly short period the art of the multitudes.

III. The motion picture, because of its importance as entertainment and because of the trust placed in it by the peoples of the world, has special MORAL OBLIGATIONS:

  1. Most arts appeal to the mature. This art appeals at once to every class, mature, immature, developed, undeveloped, law abiding, criminal. Music has its grades for different classes; so has literature and drama. This art of the motion picture, combining as it does the two fundamental appeals of looking at a picture and listening to a story, at once reaches every class of society.
  2. By reason of the mobility of film and the ease of picture distribution, and because the possibility of duplicating positives in large quantities, this art reaches places unpenetrated by other forms of art.
  3. Because of these two facts, it is difficult to produce films intended for only certain classes of people. The exhibitors' theatres are built for the masses, for the cultivated and the rude, the mature and the immature, the self-respecting and the criminal. Films, unlike books and music, can with difficulty be confined to certain selected groups.
  4. The latitude given to film material cannot, in consequence, be as wide as the latitude given to book material. In addition:
  5. A book describes; a film vividly presents. One presents on a cold page; the other by apparently living people.
  6. A book reaches the mind through words merely; a film reaches the eyes and ears through the reproduction of actual events.
  7. The reaction of a reader to a book depends largely on the keenness of the reader's imagination; the reaction to a film depends on the vividness of presentation.

Hence many things which might be described or suggested in a book could not possibly be presented in a film.

  1. This is also true when comparing the film with the newspaper.
  2. Newspapers present by description, films by actual presentation.
  3. Newspapers are after the fact and present things as having taken place; the film gives the events in the process of enactment and with apparent reality of life.
  4. Everything possible in a play is not possible in a film:
  5. Because of the larger audience of the film, and its consequential mixed character. Psychologically, the larger the audience, the lower the moral mass resistance to suggestion.
  6. Because through light, enlargement of character, presentation, scenic emphasis, etc., the screen story is brought closer to the audience than the play.
  7. The enthusiasm for and interest in the film actors and actresses, developed beyond anything of the sort in history, makes the audience largely sympathetic toward the characters they portray and the stories in which they figure. Hence the audience is more ready to confuse actor and actress and the characters they portray, and it is most receptive of the emotions and ideals presented by the favorite stars.
  8. Small communities, remote from sophistication and from the hardening process which often takes place in the ethical and moral standards of larger cities, are easily and readily reached by any sort of film.
  9. The grandeur of mass settings, large action, spectacular features, etc., affects and arouses more intensely the emotional side of the audience.

In general, the mobility, popularity, accessibility, emotional appeal, vividness, straightforward presentation of fact in the film make for more intimate contact with a larger audience and for greater emotional appeal.

Hence the larger moral responsibilities of the motion pictures.

Reasons Underlying the General Principles

  1. No picture shall be produced which will lower the moral standards of those who see it. Hence the sympathy of the audience should never be thrown to the side of crime, wrong-doing, evil or sin.

This is done:

  1. When evil is made to appear attractive and alluring, and good is made to appear unattractive.
  2. When the sympathy of the audience is thrown on the side of crime, wrongdoing, evil, sin. The same is true of a film that would thrown sympathy against goodness, honor, innocence, purity or honesty.

Note: Sympathy with a person who sins is not the same as sympathy with the sin or crime of which he is guilty. We may feel sorry for the plight of the murderer or even understand the circumstances which led him to his crime: we may not feel sympathy with the wrong which he has done. The presentation of evil is often essential for art or fiction or drama. This in itself is not wrong provided:

  1. That evil is not presented alluringly. Even if later in the film the evil is condemned or punished, it must not be allowed to appear so attractive that the audience's emotions are drawn to desire or approve so strongly that later the condemnation is forgotten and only the apparent joy of sin is remembered.
  2. That throughout, the audience feels sure that evil is wrong and good is right.
  3. Correct standards of life shall, as far as possible, be presented.

A wide knowledge of life and of living is made possible through the film. When right standards are consistently presented, the motion picture exercises the most powerful influences. It builds character, develops right ideals, inculcates correct principles, and all this in attractive story form.

If motion pictures consistently hold up for admiration high types of characters and present stories that will affect lives for the better, they can become the most powerful force for the improvement of mankind.

III. Law, natural or human, shall not be ridiculed, nor shall sympathy be created for its violation.

By natural law is understood the law which is written in the hearts of all mankind, the greater underlying principles of right and justice dictated by conscience.

By human law is understood the law written by civilized nations.

  1. The presentation of crimes against the law is often necessary for the carrying out of the plot. But the presentation must not throw sympathy with the crime as against the law nor with the criminal as against those who punish him.
  2. The courts of the land should not be presented as unjust. This does not mean that a single court may not be presented as unjust, much less that a single court official must not be presented this way. But the court system of the country must not suffer as a result of this presentation.

Reasons Underlying the Particular Applications

  1. Sin and evil enter into the story of human beings and hence in themselves are valid dramatic material.
  2. In the use of this material, it must be distinguished between sin which repels by it very nature, and sins which often attract.
  3. In the first class come murder, most theft, many legal crimes, lying, hypocrisy, cruelty, etc.
  4. In the second class come sex sins, sins and crimes of apparent heroism, such as banditry, daring thefts, leadership in evil, organized crime, revenge, etc.

The first class needs less care in treatment, as sins and crimes of this class are naturally unattractive. The audience instinctively condemns all such and is repelled.

Hence the important objective must be to avoid the hardening of the audience, especially of those who are young and impressionable, to the thought and fact of crime. People can become accustomed even to murder, cruelty, brutality, and repellent crimes, if these are too frequently repeated.

The second class needs great care in handling, as the response of human nature to their appeal is obvious. This is treated more fully below.

III. A careful distinction can be made between films intended for general distribution, and films intended for use in theatres restricted to a limited audience. Themes and plots quite appropriate for the latter would be altogether out of place and dangerous in the former.

Note: The practice of using a general theatre and limiting its patronage to "Adults Only" is not completely satisfactory and is only partially effective.

However, maturer minds may easily understand and accept without harm subject matter in plots which do younger people positive harm.

Hence: If there should be created a special type of theatre, catering exclusively to an adult audience, for plays of this character (plays with problem themes, difficult discussions and maturer treatment) it would seem to afford an outlet, which does not now exist, for pictures unsuitable for general distribution but permissible for exhibitions to a restricted audience.

  1. Crimes Against the Law
    The treatment of crimes against the law must not:
  2. Teach methods of crime.
    2. Inspire potential criminals with a desire for imitation.
    3. Make criminals seem heroic and justified.

Revenge in modern times shall not be justified. In lands and ages of less developed civilization and moral principles, revenge may sometimes be presented. This would be the case especially in places where no law exists to cover the crime because of which revenge is committed.

Because of its evil consequences, the drug traffic should not be presented in any form. The existence of the trade should not be brought to the attention of audiences.

The use of liquor should never be excessively presented. In scenes from American life, the necessities of plot and proper characterization alone justify its use. And in this case, it should be shown with moderation.

  1. Sex
    Out of a regard for the sanctity of marriage and the home, the triangle, that is, the love of a third party for one already married, needs careful handling. The treatment should not throw sympathy against marriage as an institution.

Scenes of passion must be treated with an honest acknowledgement of human nature and its normal reactions. Many scenes cannot be presented without arousing dangerous emotions on the part of the immature, the young or the criminal classes.

Even within the limits of pure love, certain facts have been universally regarded by lawmakers as outside the limits of safe presentation.

In the case of impure love, the love which society has always regarded as wrong and which has been banned by divine law, the following are important:

  1. Impure love must not be presented as attractive and beautiful.
  2. It must not be the subject of comedy or farce, or treated as material for laughter.
  3. It must not be presented in such a way to arouse passion or morbid curiosity on the part of the audience.
  4. It must not be made to seem right and permissible.
  5. It general, it must not be detailed in method and manner.

III. Vulgarity; IV. Obscenity; V. Profanity; hardly need further explanation than is contained in the Code.

  1. Costume
    General Principles:
  2. The effect of nudity or semi-nudity upon the normal man or woman, and much more upon the young and upon immature persons, has been honestly recognized by all lawmakers and moralists.
  3. Hence the fact that the nude or semi-nude body may be beautiful does not make its use in the films moral. For, in addition to its beauty, the effect of the nude or semi-nude body on the normal individual must be taken into consideration.
  4. Nudity or semi-nudity used simply to put a "punch" into a picture comes under the head of immoral actions. It is immoral in its effect on the average audience.
  5. Nudity can never be permitted as being necessary for the plot. Semi-nudity must not result in undue or indecent exposures.
  6. Transparent or translucent materials and silhouette are frequently more suggestive than actual exposure.

VII. Dances
Dancing in general is recognized as an art and as a beautiful form of expressing human emotions.

But dances which suggest or represent sexual actions, whether performed solo or with two or more; dances intended to excite the emotional reaction of an audience; dances with movement of the breasts, excessive body movements while the feet are stationary, violate decency and are wrong.

VIII. Religion
The reason why ministers of religion may not be comic characters or villains is simply because the attitude taken toward them may easily become the attitude taken toward religion in general. Religion is lowered in the minds of the audience because of the lowering of the audience's respect for a minister.

  1. Locations
    Certain places are so closely and thoroughly associated with sexual life or with sexual sin that their use must be carefully limited.
  2. National Feelings
    The just rights, history, and feelings of any nation are entitled to most careful consideration and respectful treatment.
  3. Titles
    As the title of a picture is the brand on that particular type of goods, it must conform to the ethical practices of all such honest business.

XII. Repellent Subjects
Such subjects are occasionally necessary for the plot. Their treatment must never offend good taste nor injure the sensibilities of an audience.

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