Hollywood Movies

In 2012, having been lost for over 500 years, the remains of King Richard III were discovered beneath a car park in Leicester. The search had been orchestrated by an amateur historian, Philippa Langley (Sally Hawkins), whose unrelenting research had been met with incomprehension by her friends and family and with scepticism by experts and academics. From the makers of …

In 2012, having been lost for over 500 years, the remains of King Richard III were discovered beneath a car park in Leicester.

The search had been orchestrated by an amateur historian, Philippa Langley (Sally Hawkins), whose unrelenting research had been met with incomprehension by her friends and family and with scepticism by experts and academics.

From the makers of Philomena, THE LOST KING is the life-affirming true story of a woman who refused to be ignored and who took on the country’s most eminent historians, forcing them

Fiona Eagger and Deb Cox’s legacy continues with a new team, but the same commitment to quality and diversity, including their latest film, Christmas Ransom.

Established in 2009 by leading screen industry creatives, Fiona Eagger and Deb Cox, and now led by CEO Drew Grove, Head of Content Mike Jones and Operations Manager Mary Pettigrove, Every Cloud Productions has grown to be one of Australia’s most successful independent production companies.

The company’s projects have included the mystery series Eden, all of Kerry Greenwood’s Miss Fisher Mysteries including the feature film Miss Fisher and The Crypt of Tears, the continuation of Australian classic drama Seachange, and now they’re creating home grown Christmas stories with A Sunburnt Christmas, and the upcoming Christmas Ransom.

Drew Grove [left] takes us through the importance of equality in the screen industry, how Every Cloud Productions respects diversity quotas, and the importance

Along with your work on the smash hit reboot of Heartbreak High, you’ve also been a colourist on Del Kathryn Barton’s film Blaze. Can you tell us what a colourist does?

“A colourist’s role is to design the look and feel for feature films, television series, commercials, and music videos. You work closely with the director and director of photography to establish a tone that best serves the narrative and/or conveys a particular feeling.

“We have many tools that allow us to not only adjust luminance, saturation and contrast but also shape the light and isolate individual colours, objects, or subjects to craft a shot.

“On top of that, it’s our job to make sure that the mood and look we set is consistent across a film or multiple episodes.

“Another part of the role is interpreting what people are asking for, as grading is a highly subjective medium.

How comedian/filmmaker Gary Eck plans to use cutting-edge technology to realise his sci-fi opus, Amygdala.

Note: don’t know the difference between NFT and NBA? Click Here

Gary Eck’s first encounter with the world of non-fungible tokens (NFTs) was one of trepidation: “My son wanted my details to buy an app to start generating NFTS of his own art. I was apprehensive at first, but soon it was me who was hooked, going down the rabbit hole, and by the end, I was saying ‘This is fucking genius!’”

In an act of strange serendipity, Eck’s exposure to this emerging technology happened to coincide with the development of his high-concept sci-fi feature film Amygdala. Set in a brutal dystopian future, Amygdala sees prisoners incarcerated in ‘Mindmares’, fiendish virtual realities that exploit their greatest fears, all of which are broadcast to bloodthirsty viewers.

With echoes of evocative films like The

2022 marks the birth centenary of the great filmmaker, writer, and intellectual Pier Paolo Pasolini. To celebrate his legacy, Fireflies Press has published a new book, Pier Paolo Pasolini: Writing on Burning Paper, featuring reflections from Mike Leigh, Helena Wittman, Alexandre Koberidze, Jia Zhangke, Angela Schanelec, and many other filmmakers on the powerful influence the auteur continues to exert on contemporary cinema.

To discuss the book and reflect on Pasolini’s life and work, Film Comment’s Devika Girish and Clinton Krute sat down with Giovanni Marchini Camia, co-publisher of Fireflies Press, and filmmaker Radu Jude, one of the contributors to Writing on Burning Paper. Among other great insights, Giovanni reveals how the title of the book—and in fact, the name “Fireflies Press” itself—was inspired by Pasolini’s writings, and  Radu recalls his first encounters with Pasolini’s work at the Romanian Cinematheque in Bucharest in the early ’90s.