#Les Films Paramount

[hyakoukoune]

(via le-ciel-peut-attendre63aaa91b5773d.jpg (Image JPEG, 533 × 800 pixels))

[she-is-a-weapon]

Michael and Cote's interview for La Gazette de Monaco (translated from French)

The Paramount+ spin-off will be filmed in Europe, and more specifically in Budapest. After so many years, why is it finally coming to fruition?

Cote de Pablo: I think the stars have aligned in a way. We've been nurturing this idea for a very long time, so we're very excited. We're thrilled to be shooting this spin-off in Europe and embracing the lifestyle that goes with it. It's a huge gift as actors because we come from a very different machine...

Will there be any similarities, or not, with the NCIS mothership?

CdP: There won't be a flash image with a corpse at the beginning. We won't have to solve a crime and then in the end everything works out and everyone goes back to their dysfunctional families! (laughs) We wanted to take our two characters away from the agency and have them evolve in an international context. The other main difference is the format, since we're doing 10 episodes instead of 24. And we’re shooting ten hours a day!

One of the main characters in this spin-off is your daughter Tali. Have you found the actress to play her?

Michael Weatherly: We've just completed the casting process. The series should really be called "NCIS: Tony, Ziva & Tali", as their child is at the heart of their concerns. In NCIS, our characters didn't have this, so they acted very personally, according to their desires. When you have a child, you have to figure out what's best for them. At the same time, Tony and Ziva also have to save the world. Tali is the perfect character to introduce new sources of trouble.

Your on-screen chemistry is just as real in real life. How do you preserve this 20-year friendship?

MW: Our friendship began under President Bush... and continued through the administrations of Obama, Trump, and Biden! The truth is, we talk a lot. Friendships can be difficult in show business, where there's not always a sense of durability. It's a bit like the friends you make at summer camp and never see again!

CdP: Except that you never got rid of me! I'm your forever summer camp buddy (laughs). You and I, we laugh a lot, and there's this truly wonderful thing that happens over time, where friendship deepens as we say in Spanish. If there is a problem, I can count on our 20 years to get through it. That doesn't mean there won't be conflicts, because we're both passionate creatures, but our friendship has been through a lot, not just professionally.

Source: https://lagazettedemonaco.com/actualites/art-culture/ncis-apres-le-1000e-episode-place-au-spin-off

[frenchcurious]

Elvis Presley au volant de sa Chrysler Imperial Crown Convertible 1957 sur le plateau de son film LOVING YOU dans les studios Paramount. - source Cars & Motorbikes Stars of the Golden era.

[chicinsilk]

Grace Kelly during a break on the set of the Paramount Pictures film "Rear Window" in November 1953 in Los Angeles.

Grace Kelly pendant une pause sur le tournage du film "Rear Window" de Paramount Pictures en novembre 1953 à Los Angeles.

(Photo by Archives Michael Ochs/Getty Images)

[o-link]

Cary Grant

Métier : acteur

Né(e) le : 18/01/1904

Date de décès : 29/11/1986

Pays : Royaume-Uni

Signe : Capricorne

Biographie

Cary Grant (Archibald Alexander Leach de son vrai nom) naît le 18 janvier 1904 au Royaume-Uni. Adolescent turbulent, il quitte Bristol pour Broadway afin de tenter sa chance dans le milieu de la comédie musicale. En 1931, il s’envole pour Hollywood et rêve de conquérir le grand écran.

La Paramount l’enrôle sous le nom de Cary Grant, et la carrière du jeune acteur est lancée. Aussi charmant que redoutable, Cary Grant parvient à imposer ses choix de films et à échapper à la tyrannie d’alors des studios. Il devient l’un des acteurs emblématiques de la “screwball comedy” (comédie de boulevard), donnant la réplique à Katharine Hepburn dans L’Impossible monsieur bébé ou à Marilyn Monroe dans Chérie, je me sens rajeunir. Physique et sensible, il est l’un des acteurs phares de son temps. Sa collaboration avec Alfred Hitchock lui fait atteindre la gloire (Mort aux trousses, La Main au collet) : il est le seul acteur que le réalisateur ait déclaré avoir aimé. Il obtiendra un Oscar d’honneur pour sa carrière en 1970.

 Ian Fleming s’est inspiré de ce véritable séducteur pour créer le personnage de James Bond. Cary Grant a en effet multiplié les conquêtes et s’est marié cinq fois. Après un premier divorce en 1934, Cary épouse la richissime Barbara Hutton. Il la quitte en 1945 mais demeure très proche de la belle mondaine. Il s’unit ensuite à l’actrice Betsy Drake, qui l’initie aux drogues et à la méditation. Le couple se sépare en 1962 et Cary convole avec la jeune Dyan Cannon, qui l’accuse rapidement de violences conjugales. Le divorce est prononcé en 1968 et Cary épouse Barbara Harris, qu’il ne quittera plus jusqu’à sa mort en 1986.

[tina-aumont]

Arabian Nights

Arabian Nights is a 1942 adventure film directed by John Rawlins and starring Jon Hall, Maria Montez, Sabu and Leif Erikson. The film is derived from The Book of One Thousand and One Nights but owes more to the imagination of Universal Pictures than the original Arabian stories. Unlike other films in the genre (The Thief of Bagdad), it features no monsters or supernatural elements.

This is the first feature film that Universal made using the three-strip Technicolor film process, although producer Walter Wanger had worked on two earlier Technicolor films for other studios: The Trail of the Lonesome Pine (1936) at Paramount and the 1937 Walter Wanger's Vogues of 1938 for United Artists.

Plot (it may contain spoilers)

In ancient Persia, the young women of a royal harem read the story of Sherazade, unfolding the film's story. Sherazade, a dancer in a wandering circus, captures the attention of Kamar, the brother of the caliph, Haroun al-Rashid. Kamar's infatuation influences his attempts to seize the throne from Haroun and make Sherazade his queen. His revolt fails, and he is sentenced to slow death by exposure, but Kamar's men storm the palace and free their leader. Wounded and forced to flee, Haroun chances upon Sherazade's circus and is spotted by the young acrobat Ali Ben Ali. Aware of Haroun's identity, Ali hides him in the circus. Later, upon awakening from his injuries, Haroun beholds Sherazade and falls in love with her.

Meanwhile, Kamar assumes the throne, but Sherazade is not to be found. He orders the captain of his guard to find her, but a scheming grand vizier, Nadan, approaches the captain with the order to make Sherazade 'disappear.' After finding them, the captain sells the troupe into slavery. When the captain is found out, Nadan murders him in order to conceal his treachery. Haroun, Sherazade, and the acrobats escape the slave pens, but are found by Kamar's army and taken to a tent city in the desert. Kamar reunites with Sherazade and proposes, but she has fallen in love with Haroun instead. Nadan, recognizing the caliph, uses this knowledge to blackmail Sherazade into helping him remove Kamar from the throne, in return for safe conduct for Haroun out of the caliphate. In secret, however, he plans to have Haroun killed once he has crossed the border.

Upon learning of this insidious scheme, Ali and his fellow performers rescue Haroun, who then decides to free Sherazade with the help of the acrobats. But Haroun and the others are quickly captured, and Sherazade finally learns his true identity. Kamar engages Haroun in a swordfight, while the acrobats set fire to the tents; and the arrival of the caliph's loyal troops, summoned by Ali, triggers a massive battle. In the end, as Kamar prepares to deliver the deathstroke to Haroun, Nadan assassinates Kamar. But as he prepares to do in Haroun, Ahmad and Ali interfere, forcing him to flee. Nadan is stopped by a thrown spear and dies inside a burning tent, leaving Haroun, Sherazade, and their loyal friends to celebrate victory.

Cast

Jon Hall – Haroun-Al-Raschid

Maria Montez – Sherazade

Sabu – Ali Ben Ali

Leif Erikson – Kamar

Billy Gilbert – Ahmad

Edgar Barrier – Nadan

Richard Lane – Corporal

Turhan Bey – Captain of the Guard

John Qualen – Aladdin

Shemp Howard – Sinbad

William 'Wee Willie' Davis – Valda

Thomas Gomez – Hakim

Jeni Le Gon – Dresser / Dancer's Maid

Robert Greig – Eunuch

Charles Coleman – Eunuch

Emory Parnell – Harem Sentry

Harry Cording – Blacksmith

Robin Raymond – Slave Girl

Carmen D'Antonio – Harem Girl

The film was released on 25th December 1942.

Photos from ebay and text from wikipedia.

[geekcavepodcast]

The Thundermans Return Trailer

Twins Phoebe and Max enjoy "their superhero lifestyle in a new city, but when one ‘save’ goes awry, the Thundermans are sent back to Hiddenville. While Hank and Barb enjoy their return, Chloe develops a new friend group, and Billy and Nora begin a normal high school life, Max and Phoebe are determined to regain their superhero status." (Paramount Plus)

The Thundermans Return stars returning cast members Kira Kosarin (Phoebe), Jack Griffo (Max), Addison Riecke (Nora), Diego Velazquez (Billy), Maya Le Clark (Chloe), Chris Tallman (Mank), and Rosa Blasi (Barb). The film is directed by Trevor Kirschner from a teleplay by Jed Spingarn. The Story is by Spingarn, Sean W. Cunningham, and Marc Dworkin.

The Thundermans Return hits Paramount+ on March 7, 2024.

[cunttom]

Transitioned to a patsweeper for le epic troll already voted for future edd but he wont win and patryck is funny as hell. Patsweep kills all your favs including mine and you either embrace it or fall into irrelevancy. In this way it's kind of like the pathé exchange, one of the early major firms of the silent age. Pathé was a distributor, much like Hollywood, but xenophobia toward anything nonamerican put people off in the first place. Meanwhile as paramount and mgm consolidated exhibitors, producers, and distributors into one big business of control, pathé refused in favor of focusing on a useless rural market, allying with the little guy--which didn't actually earn any money. They were contemporarily considered high quality, especially in the realms of serials and artificial coloring, in the 1910s, but as their quality declined and their desperation to cling to short films over features left them in the dust, they squeaked to an inevitable death. Their desire to hinge on traditional business practice over vertical integration is especially bizarre considering they vertically integrated in France, but refused to in america. This is my essay topic that I've been researching that's due on thursday btw. Idk what my thesis is gonna be.

[tintinology]

With the Spielberg/Jackson sequel becoming less and less likely to ever happen, here's a look at another Tintin movie we could one day have if Moulinsart stops being such a little bitch

English translation under the cut:

The Castafiore Emerald: Patrice Leconte dreams of a "slightly artsy" film in the style of Wes Anderson

In 2020, we learned that the director of Les Bronzés wanted to adapt Tintin to the cinema. More precisely: The Castafiore Emerald. Patrice Leconte swore he had already chosen the interpreters of the singer and Captain Haddock, but very quickly, the question of adaptation rights posed a problem, and the filmmaker finally directed Maigret with Gérard Depardieu.

Just as he releases a book devoted to the Belgian investigator published by Moulinsart Casterman, entitled Tintin de A à Z [Tintin from A to Z] (which takes elements from the famous cover of Emerald as can be seen above), he gives an update on this film, which he still intends to shoot.

"The Castafiore Emerald film project is not completely down the drain, but it's so complicated, what with the rights issues with Paramount and Moulinsart," deplores the filmmaker, relayed by BFMTV [a French national television channel]. "Maybe to calm my impatience, Moulinsart offered me this Tintin primer. They gave me carte blanche."

He then justifies his choice of the only Hergé comic strip taking place entirely at Marlinspike Hall ("I dream of making an adventure film without adventure") and specifies that he already has "the whole film in mind". Quoting the works of Wes Anderson (whose universe sometimes openly refers to the work of Hergé, notably in The Grand Budapest Hotel, where some shots seemed to be taken from his comics), Leconte speaks of a "slightly artsy film": "I will not take the album in my left hand and the camera in my right hand, but I will try to respect everything that the album visually communicates: the fabrics of the Castafiore's outfits, the step that is missing a chunk of marble... I really believe that we can make a film in a ligne claire style [...] We can allow ourselves liberties if they are in the spirit of comics, but otherwise it will be extremely faithful. I want it to be very close in terms of frames, colours, flat tints, absence of shadow."

On the casting side, if he had mentioned actors in 2020 (without quoting them), he no longer talks about them here, simply explaining that he will undoubtedly bet on an unknown actor for the title role: "What will amuse me when I shoot, it's to only have known actors for lines like ‘Hello, is this Mr. Cutts, the butcher?' and that the only unknown actor is Tintin. But I don’t see any known twenty-year-old actors who look like Tintin. I prefer to do a complete casting to find a Tintin." As for Snowy, he assured three years ago: "We will take any pooch, that won’t be a problem."

While he has "the whole film in mind", Patrice Leconte has not yet written his screenplay. He specifies that he wants to team up again with his accomplice Jérôme Tonnerre (Mon meilleur ami, Confidences trop intimes, etc.), but adds in the process: "We are not going to spend three months of our life writing a screenplay if the film never ends up being made. I don't want to get too involved. You can't live too long with fierce hope, because afterwards you can only be disappointed." Finding the process of adapting Tintin "too long", he concludes by saying that he won't do it after his 77th birthday (to respect the saying that Tintin is aimed at readers aged 7 to 77?): "I said that I only had a year and a half left to make the film, because I'm going to be 77, the age limit for enjoying Tintin. It was an irrefutable argument, but it didn't bother them too much."

Finally, evoking all of Hergé's comics in Tintin de A à Z, he proclaims his admiration for the adaptation directed by Steven Spielberg in 2011, The Adventures of Tintin: The Secret of the Unicorn: "It's the best adaptation of Tintin. Pure Hergé and pure Spielberg. He understood everything. He managed to translate without betraying. I really enjoyed it."

[psalm22-6]

Program for Les Misérables: Une Tempête Sous Un Crane (1934) at the Paramount Theater, 2 Boulevard des Capucines, Paris. On the cover is Harry Baur as Jean Valjean, drawn by David Olère. More on Olère and Baur below the cut [tw: discussion of the Holocaust]

Olère was a Polish Jew who immigrated to France and became a French citizen. This image is a good example of the pre-war art he made while employed by Paramount. However, he was arrested in 1943 and sent to Auschwitz, where he was made to work in the Sonderkommando due to his skills as an artist and his fluency in several languages. Today he is remembered for his drawings of Auschwitz, made both during his imprisonment and after, which provide documentary information about the death camp and how it operated.

With regards to Baur, he was one of French cinema's great stars and his film career was initially able to continue despite the war. However, due to his pro-French statements and suspicions that he was Jewish, he and his wife Rika Radifé were arrested by the Gestapo in 1942 (Radifé, who was Jewish, was accused of espionage). Baur was imprisoned for four months and shortly after his release, he died under suspicious circumstances. So while this is a beautiful piece of Les Mis memorabilia, it has very sad associations.

[sistemabibliotecariomilano]

Novità (ma non solo...)

Il vostro affezionato staff delle Biblioteche di Milano vi imbandisce un piccolo antipasto letterario, prima delle pantagrueliche proposte natalizie.

Di Geoffrey Holiday Hall si sa soltanto che fu giornalista e scrittore. Elogiato da Leonardo Sciascia che lesse La fine è nota nel 1952, pubblicò solo due gialli e poi scomparve praticamente nel nulla. La fine è nota (uscito per la prima volta in Italia con il titolo La morte alla finestra) fu premiato in Francia nel 1953 come miglior poliziesco in lingua non francese. Il titolo originale (The end is known) deriva dal Giulio Cesare di Shakespeare: “Oh, se fosse dato all’uomo di conoscere la fine di questo giorno che incombe! Ma basta solo che il giorno trascorra e la sua fine è nota”. Un giallo di classe, strutturato come un viaggio a ritroso nella vita del protagonista di cui si ricostruisce la storia passo per passo, testimonianza per testimonianza, come un misterioso puzzle che si completa, ovviamente, solo nel finale. Molto godibile è anche il secondo titolo Qualcuno alla porta, dai toni più leggeri, nonostante gli omicidi e l’atmosfera della Vienna sotto l’occupazione sovietica nel secondo dopoguerra che non ricorda neppure lontanamente gli splendori dell’impero asburgico. “Sembra uno di quei soggetti che piacevano a Hitchcock (e non è detto che il pressoché ignoto Holiday Hall, scrivendo Qualcuno alla porta, non avesse in mente le figure di James Stewart e Doris Day, o di Cary Grant e Grace Kelly)”. La frizzante coppia americana che si trova, suo malgrado, a gestire le indagini ricorda anche il duo Tommy e Tuppence di Agatha Christie. Doppio colpo di scena sul finale: cosa chiedere di più a un libro giallo?

Ha un solo difetto Un volto nella folla di Budd Schulberg: è troppo breve. Parliamo ancora dell’autore di Perché corre Sammy? e I disincantati per questo racconto appena uscito e finora inedito in Italia, da cui Elia Kazan trasse il film omonimo con protagonista Andy Griffith (l’indimenticabile avvocato Matlock della fortunata serie televisiva, per intenderci). Il tema, fin troppo attuale, è quello della manipolazione del pensiero e dei comportamenti (e quindi del voto) delle masse da parte dei personaggi dello spettacolo: in questo caso si tratta di un finto sempliciotto proveniente da un paesino dell’Arkansas che, in virtù della sua sconcertante capacità di coinvolgimento, diventa il paradigma dell’America intera. Grazie alle sue canzoni folk, a vecchi luoghi comuni sulle tradizioni popolari e a un indubbio carisma, il nostro eroe riesce a condizionare il pubblico e ad arricchirsi con i lauti proventi della pubblicità. Cambia il tema negli altri due racconti della raccolta: i ‘dietro le quinte’ del mondo del cinema in Questa è Hollywood, che l’autore, sceneggiatore e figlio di un tycoon della Paramount, non solo conosceva bene, ma sapeva anche descrivere con agile penna, e L’imbonitore, sul mondo della boxe. Ricordiamo che per la sceneggiatura di Fronte del porto (che è anche un romanzo), celebre film con Marlon Brando, Schulberg si aggiudicò l’Oscar nel 1954.

Per la serie i grandi classici hanno sempre qualcosa da dire è stato ripubblicato da Mondadori e da Sellerio Brighton Rock di Graham Greene. Una lettura da consigliare sotto tutti i punti di vista: un giallo ben costruito con protagonisti tratti sia dalla malavita, sia dal caso che fa di un personaggio del tutto inaspettato un accanito segugio alla ricerca del colpevole, come fosse Porfirij Petrovic che insegue Raskolnikov o Javert che perseguita Jean Valjean, ma con uno spirito diverso, fresco e originale. “Nello specchio inclinato sopra il lavabo si poteva vedere riflesso, ma gli occhi si distolsero rapidamente da quell’immagine di guance livide e mal rasate, di capelli lisci e occhi da vecchio. Non lo interessava. Era troppo orgoglioso per preoccuparsi del suo aspetto”.

Nuova ristampa anche per Le vittime di Norwich (1935) uno dei gialli più famosi (insieme a The House of Dr. Edwardes che ispirò il film Io ti salverò diretto da Alfred Hitchcock) fra i 31 composti dalla coppia britannica John Leslie Palmer e Hilary Aidan St. George Saunders sotto lo pseudonimo di Francis Beeding.

Da La regina degli scacchi di Walter Tevis, lo scrittore di Lo spaccone e Il colore dei soldi, è stata tratta una miniserie televisiva di grande successo. Accade spesso che i geni abbiano avuto una vita difficile, siano dei disadattati, spesso asociali, in perenne conflitto con se stessi, il prossimo e il mondo che li circonda. È anche questo il caso della protagonista, la piccola Beth, cresciuta in orfanotrofio, che trova una riscossa alla sua grigia esistenza grazie alla passione per la scacchiera. Una curiosità sul ‘caso letterario’ di Tevis: dopo il successo dei primi libri, fu dimenticato anche a causa dei problemi con l’alcol. Quando decise di riprendere a scrivere, lo fece seguendo un corso di scrittura all’Università dove fu riconosciuto dal poeta Donald Justice che, stupito, gli chiese cosa ci facesse un grande autore come lui in mezzo agli studenti, quando avrebbe invece dovuto salire in cattedra. Breve fu purtroppo la sua seconda stagione creativa: Tevis morì a soli 56 anni per un tumore.

Il voyeurismo è il tema principale dell’ultimo romanzo di Simenon pubblicato da Adelphi, Delitto impunito: composto nel 1953 durante il soggiorno dello scrittore a Lakeville nel Connecticut, fu edito l’anno successivo in volume e a puntate sul settimanale «Les Nouvelles littéraires». Il secondo tema del libro è l’invidia, quella di chi non ha nulla, né bellezza né fascino nè denaro ed è stato defraudato perfino dell’affetto dei genitori, nei confronti di chi invece ha tutto questo e ne mena vanto, e gode nell’esibirlo senza ritegno. Una lotta accanita tra due personalità, che è la lotta atavica tra gli uomini per la supremazia. “A Élie non era mai successo di trovarsi davanti un uomo completamente felice, felice in tutto e per tutto, sempre e comunque, in ogni momento della giornata, e che approfittava con candore di tutto quel che lo circondava per accrescere il proprio piacere”.

Una nuova indagine per l’improbabile detective di Partanna Giovà, metronotte per caso, coinvolto in un duplice omicidio di stampo mafioso insieme a tutta la scombinata famiglia Di Dio. Sarà ancora una volta l’anziana madre, autentica virago arroccata alle salde tradizioni popolari e armata di un cervello dalla logica “acuminata”, ad avviare le indagini verso l’inevitabile conclusione. Ma cos’è La boffa allo scecco? Questo, almeno, ve lo possiamo svelare: si tratta di un gesto simil-apotropaico (in realtà un autentico sopruso) che a tutti è occorso di subire almeno una volta nella vita, ovvero lo schiaffo di rimando, come sfogo per un’ingiustizia patita che non si è in grado di vendicare altrimenti. Roberto Alajmo non delude le aspettative.

Per quanto riguarda Sarà assente l’autore di Giampaolo Simi, si può dire che, se esiste una sana via di mezzo tra assecondare a priori i gusti dei lettori meno esigenti e scrivere in modo che solo l’autore possa comprendere i propri contenuti, Simi l’ha sicuramente trovata e ce la propone in queste succulente paginette. Dedicato a chi ha la voglia, la necessità, l’urgenza di ridere a crepapelle.

Nell’ultimo nato della serie del BarLume di Marco Malvaldi, La morra cinese, gli inossidabili vecchietti sono alle prese con l’omicidio niente di meno che di un giovane filologo romanzo alle prese con un carteggio appartenente alla famiglia di un nobile “arci-decaduto” del luogo, in cui, pare, compariva addirittura un’epistola inedita di Giacomo Leopardi. Ma questo non è l’unico movente per un delitto che non resterà a lungo irrisolto.

[ptbf2002]

here's My Top 10 Favorite Cartoons From France (Or I Should Say That Cartoons Produced Or Animated In France)

#10 Little Spirou

#9 Monster Buster Club

#8 Robotboy

#7 SamSam

#6 The Garfield Show

#5 Zig And Sharko

#4 Sonic Boom

#3 Magiki

#2 Angelo Rules

And #1 Oggy And The Cockroaches

Honorable Mentions: Boy Girl Dog Cat Mouse Cheese, Nate Is Late, Molang, Sally Bollywood, Team Galaxy, A.T.O.M Alpha Teens On Machines,

Original Template: https://www.deviantart.com/el-crany-racha-da/art/Top-10-Favorite-French-Cartoons-962082542

Little Spirou (TV Series) (2013) Belongs To Jean-Richard Geurts, Philippe Tome, Virginie Jallot, Dupuis Editions & Audiovisuels, Araneo Belgium, LuxAnimation, Belvision, Dreamwall, OUFtivi, Radio-télévision belge de la Communauté française (RTBF), Télétoon+, CANAL+ S.A. Groupe CANAL+ S.A. Vivendi SE, M6 Kid, M6 (TV channel), Metropole Télévision S.A. And Groupe M6

Monster Buster Club Belongs To Vincent Chalvon-Demersay, David Michel, Designstorm Animation Studio, Marathon Animation, Marathon Media Group, Zodiak Kids Studios France, Banijay S.A. Image Entertainment Corporation, Mystery Animation, TF1, Groupe TF1 S.A. Jetix Europe N.V. Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company YTV, YTV Canada, Inc. And Corus Entertainment Inc.

Robotboy Belongs To Jan Van Rijsselberge, Digital eMation, Inc. Monigotez, Carbunkle Cartoons, Gaumont Animation, Gaumont Film Company, France 3, France Télévisions S.A. LuxAnimation, Splash Entertainment, LLC. Cofinova 1, Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Discovery Europe, Middle East & Africa, Warner Bros. Discovery International, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

SamSam Belongs To Serge Bloch, Blue Spirit Studio, Sinematik, Bayard Jeunesse Animation, Grupo SM, Araneo Belgium, France 5, France Télévisions S.A. Gulli, Canal J, TiJi, Metropole Télévision S.A. And Groupe M6

The Garfield Show Belongs To Jim Davis, Philippe Vidal, Infinite Frameworks Pte. Ltd. Tiger Bells Animation Pvt. Ltd. Paws, Inc. Nickelodeon Group, Paramount Media Networks, Inc. Paramount Global, Dargaud Media, Mediatoon Distribution, Les Éditions Dargaud, France 3, France Télévisions S.A. Cartoon Network, Boomerang (TV network), The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Zig And Sharko Belongs To Olivier Jean-Marie, Armada TMT, DongWoo Animation Co. Ltd. Xilam Animation, TF1, Groupe TF1 S.A. CANAL+ S.A. Groupe CANAL+ S.A. Vivendi SE, Gulli, Canal J, TiJi, Metropole Télévision S.A. Groupe M6, Super RTL, RTL Deutschland GmbH And RTL Group S.A.

Sonic Boom Belongs To Yuji Naka, Naoto Ohshima, Hirokazu Yasuhara, Evan Baily, Donna Friedman Meir, Sandrine Nguyen, Infinite Frameworks Studios, SEGA Corporation, SEGA Sammy Holdings Inc. OuiDo! Productions, Technicolor Animation Productions, Lagardère Thématiques, Jeunesse TV, Gulli, Canal J, CANAL+ S.A. Groupe CANAL+ S.A. Vivendi SE, Metropole Télévision S.A. Groupe M6, Boomerang, Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Magiki Belongs To Eryk Casemiro, Cyril Deydier, Pegbar Animation, Animasia Studio, Rainbow S.P.A. Paramount Media Networks, Inc. Paramount Global, DeAgostini Publishing Italy S.P.A. DeAgostini Editore S.P.A. DeAKids, DeA Junior, DeAgostini S.P.A. DeAPlaneta Kids And Family, DeAPlaneta Entertainment, Télé Images Productions, Zodiak Kids Studios France, Banijay S.A. Ketchup TV, KidsMe S.R.L. Gulli, TiJi, Metropole Télévision S.A. Groupe M6, Frisbee, Switchover Media, Discovery Italia S.R.L. Discovery Networks Italia, Discovery Networks EMEA, Discovery Networks International, Discovery, Inc. And Warner Bros. Discovery, Inc.

Angelo Rules Belongs To Sylvie De Mathuisieulx, Sebastien Diologent, TeamTO, CAKE Entertainment Ltd. France 3, France 4, France Télévisions S.A. Télétoon+ CANAL+ S.A. Groupe CANAL+ S.A. Vivendi SE, Expand Drama, Super RTL, RTL Deutschland GmbH, RTL Group S.A. International Rheingold Productions, Cartoon Network (Middle Eastern and African TV channel), Turner Broadcasting System Europe Limited, WarnerMedia EMEA, Turner Broadcasting System International, WarnerMedia International, WarnerMedia & Warner Bros. Discovery, Inc.

Oggy and the Cockroaches Belongs To Jean-Yves Raimbaud, Big Star Enterprise, Armada TMT, Digital Emation, Inc. Neon Pumpkin, DongWoo Animation Co. Ltd. Gaumont Multimedia, The Gaumont Film Company, Xilam Animation, France 3, France Télévisions S.A. CANAL+ Family, CANAL+ S.A. Groupe CANAL+ S.A. Vivendi SE, Gulli, Canal J, Metropole Télévision S.A. And Groupe M6

[dweemeister]

My Alternative 96th Academy Awards

This is an exercise that has not appeared on this blog since 2019 for the 91st ceremony. But I wanted to revive it. So what would tomorrow's Academy Awards ceremony looked like if I determined all the nominees and the winners? This is my ideal world, my alternative universe, if you will. Prepare for controversy, and my ambivalence towards Poor Things and The Zone of Interest (which doesn't get nominated at all here).

It's been a while since I've done this, so there might be some quirks newer followers are less familiar with. Most notably, if you see a three letter abbreviation anywhere, that indicates a movie not in the English language and indicates the country/countries of origin based on their three-letter FIFA code of all things.

Without further ado!

96th Academy Awards – March 10, 2024 Dolby Theatre – Hollywood, Los Angeles, California Host: Jimmy Kimmel Broadcaster: ABC

Best Picture: KILLERS OF THE FLOWER MOON

Anatomy of a Fall (FRA), Marie-Ange Luciani and David Thion (Neon/Le Pacte)

Barbie, David Heyman, Margot Robbie, Tom Ackerley,  and Robbie Brenner (Warner Bros.)

The Holdovers, Mark Johnson (Focus/Universal)

Killers of the Flower Moon, Dan Friedkin, Bradley Thomas, Martin Scorsese, and Daniel Lupi (Apple/Paramount)

Oppenheimer, Emma Thomas, Charles Roven, and Christopher Nolan (Universal)

Past Lives, David Hinojosa, Christina Vachon, and Pamela Koffler (A24)

Robot Dreams (ESP/FRA), Ibon Cormenzana, Ignasi Estapé, Sandra Tapia, Jérôme Vidal, and Pablo Berger (Neon/Bteam Pictures/Wild Bunch)

Spider-Man: Across the Spider-Verse, Phil Lord, Christopher Miller, Amy Pascal, Avi Arad, and Christina Steinberg (Sony Pictures Animation/Columbia)

The Taste of Things (FRA), Olivier Delbosc (Gaumont)

20 Days in Mariupol (UKR), Raney Aronson-Rath, Mstyslav Chernov, Derl McCrudden, and Michelle Mizner (Associated Press/Public Broadcasting Service)

Am I nuts? A documentary (there's nothing in the rules that say they can't be nominated for Best Picture)? Why not? TWO animated features? Let alone a movie that almost nobody outside of Europe has seen? Well I've seen Robot Dreams, and it is one of the best 2023 release I saw all year.

My full thoughts on my favored film, Killers of the Flower Moon, can be found in my write-up here.

Six of the current Best Picture nominees keep their nomination. American Fiction, Maestro, Poor Things, and The Zone of Interest are dropped. In their place go Robot Dreams, Spider-Man: Across the Spider-Verse, The Taste of Things, and 20 Days in Mariupol. I strongly considered replacing Barbie, but decided against it. Yes, I believe there were more than ten movies better than Barbie this year. But I richly *enjoyed* Barbie, and appreciate its instant spot in film history. It stays in.

Best Director

Joaquin Dos Santos, Kemp Powers, and Justin K. Thompson, Spider-Man: Across the Spider-Verse

Christopher Nolan, Oppenheimer

Martin Scorsese, Killers of the Flower Moon

Trần Anh Hùng, The Taste of Things

Justine Triet, Anatomy of a Fall

Folks are saying Martin Scorsese is not nearly as innovative as he used to be. Au contraire, I say. Killers of the Flower Moon exemplifies tons of personal and artistic growth for him... and that extremely risky ending pays off dividends. As a Nolan skeptic, I am indeed impressed with his work on Oppenheimer, but it's not the "best" for me this year.

Those familiar with my affiliation with Viet Film Fest might detect some bias, but hell The Taste of Things was gorgeous, folks.

Best Actor

Bradley Cooper, Maestro

Colman Domingo, Rustin

Paul Giamatti, The Holdovers

Cillian Murphy, Oppenheimer

Jeffrey Wright, American Fiction

It's a toss-up to me. But, having to choose one, I'll go for a man who is probably overdue.

Best Actress

Lily Gladstone, Killers of the Flower Moon

Sandra Hüller, Anatomy of a Fall

Alma Pöysti, Fallen Leaves (FIN)

Margot Robbie, Barbie

Emma Stone, Poor Things

The first acting change from the actual Oscars appears here, with Finnish actress Alma Pöysti replacing Annette Bening in Nyad. But this should be Lily Gladstone's, who would justly be making a lot of history here.

And yes, Barbie fans... I relent. Margot Robbie makes my final cut.

Best Supporting Actor

Sterling K. Brown, American Fiction

Robert De Niro, Killers of the Flower Moon

Robert Downey Jr., Oppenheimer

Ryan Gosling, Barbie

Dominic Sessa, The Holdovers

I don't think RDJ should be sweeping the season as he has. I think it's a lot closer between all of these fellows than it actually has been. Disagree with me all you want, but I think De Niro was truly menacing in KOTFM. And he didn't need any deaging this time, either!

Best Supporting Actress

Juliette Binoche, The Taste of Things

Emily Blunt, Oppenheimer

Danielle Brooks, The Color Purple

Penélope Cruz, Ferrari

Da’Vine Joy Randolph, The Holdovers

Fine, I guess? I think Randolph's character gets cut out of The Holdovers far too soon. But I can't make the case for anyone else this year except for maybe Binoche (whom some people will complain about my placement in Supporting Actress instead of Lead Actress, but that's how the studio campaigned for her).

Best Adapted Screenplay

Pablo Berger, Robot Dreams

Greta Gerwig and Noah Baumbach, Barbie

Cord Jefferson, American Fiction

Christopher Nolan, Oppenheimer

Eric Roth and Martin Scorsese, Killers of the Flower Moon

I'm not going to second-guess the Academy on its placement of Barbie here. It's not winning in this category in any case. American Fiction is a solid, imperfect satire, and finds its due here.

Best Original Screenplay

İlker Çatak and Johannes Duncker, The Teachers’ Lounge (GER)

David Hemingson, The Holdovers

A.V. Rockwell, A Thousand and One

Celine Song, Past Lives

Justine Triet and Arthur Harari, Anatomy of a Fall

I was very, very tempted to give this to Past Lives. But in the end, my sneaking feeling that I don't quite buy the closeness - despite having not talked for so long - of the two lead characters wins out.

Anatomy of a Fall is a hell of a balancing act, domestically and legally, and wins here.

Best Animated Feature

The Boy and the Heron, Japan (GKIDS/Studio Ghibli/Toho Company)

Ernest & Celestine: A Trip to Gibberitia, France (GKIDS/StudioCanal)

Robot Dreams, Spain/France (Neon/Bteam Pictures/Wild Bunch)

Spider-Man: Across the Spider-Verse (Sony Pictures Animation/Columbia)

Suzume, Japan (GKIDS/Toho Company)

Stoking the flames, but here we are! I think ATSV is slightly better than Robot Dreams as a whole, but the film lacks a resolution and obviously had access to more resources. Spider-Man will return to this category. I'm not so sure about Pablo Berger. The heartfelt and dialogue-free Robot Dreams takes it, while the Ernest & Celestine sequel and Suzume make it in place of Elemental and Nimona.

Best Documentary Feature

Bobi Wine: The People’s President (National Geographic)

The Eternal Memory, Chile (MTV Documentary Films)

Four Daughters, Tunisia/France/Germany/Saudi Arabia (Kino Lorber/Jour2Fête)

To Kill a Tiger, Canada (National Film Board of Canada)

20 Days in Mariupol, Ukraine (Associated Press/Public Broadcasting Service)

Extraordinary filmmaking and, as you can imagine, brutal to watch. It's freely available online for any American readers out there, thanks to PBS.

Best International Feature

Fallen Leaves, Finland

Society of the Snow, Spain

The Taste of Things, France

The Teachers’ Lounge, Germany

20 Days in Mariupol, Ukraine

I follow Academy rules here in terms of one movie per country.

Best Cinematography

Edward Lachman, El Conde

Rodrigo Prieto, Killers of the Flower Moon

Mathtew Libatique, Maestro

Hoyte van Hoytema, Oppenheimer

Jonathan Ricquebourg, The Taste of Things

Best Film Editing

Laurent Sénéchal, Anatomy of a Fall

Kevin Tent, The Holdovers

Thelma Schoonmaker, Killers of the Flower Moon

Jennifer Lame, Oppenheimer

Michael Andrews, Spider-Man: Across the Spider-Verse

Best Original Score

Michael Giacchino, Society of the Snow

Laura Karpman, American Fiction

Robbie Robertson, Killers of the Flower Moon (posthumous nomination)

John Williams, Indiana Jones and the Dial of Destiny

Hans Zimmer, The Creator

The folks who complained that Dial of Destiny was not original enough need to go 1) watch the movie and 2) listen to the score afterwards. There was a distinct lack of older Indiana Jones cues in there, and "Helena's Theme" is the best cue of 2023. Too many people online write about film scores but have little idea about what they're talking about (*cough* David Ehrlich at IndieWire *cough*).

That said, Williams doesn't win here. It's Giacchino, for a score that does a hell lot of the heavy emotional lifting in a grim movie that concludes with its real-life happy ending.

Best Original Song

“I’m Just Ken”, music and lyrics by Mark Ronson and Andrew Wyatt, Barbie

“It Never Went Away”, music and lyrics by Jon Batiste and Dan Wilson, American Symphony

“Wahzhazhe (A Song for My People)”, music and lyrics by Scott George, Killers of the Flower Moon

“What Was I Made For?” music and lyrics by Billie Eilish and Finneas O’Connell, Barbie

Four nominees rather than five, because I didn't like much else that was shortlisted. This category has been my personal hell in recent years.

Best Costume Design

Jacqueline Durran, Barbie

Jacqueline West, Killers of the Flower Moon

Janty Yates and Dave Crossman, Napoleon

Ellen Mirojnick, Oppenheimer

Holly Waddington, Poor Things

Best Makeup and Hairstyling

Karen Hartley Thomas, Suzi Battersby, and Ashra Kelly-Blue, Golda

Kazu Hiro, Kay Georgiou, and Lori McCoy-Bell, Maestro

Luisa Abel, Oppenheimer

Nadia Stacey, Mark Coulier, and Josh Weston, Poor Things

Ana López-Puigcerver, David Martí, and Montse Ribé, Society of the Snow

Best Production Design

Sarah Greenwood and Katie Spencer, Barbie

Jack Fisk and Adam Willis, Killers of the Flower Moon

Arthur Max and Elli Griff, Napoleon

Ruth De Jong and Claire Kaufman, Oppenheimer

James Price, Shona Heath, and Zsuzsa Mihalek, Poor Things

Best Sound

Ian Voigt, Erik Aadahl, Ethan Van der Ryn, Tom Ozanich, and Dean Zupancic, The Creator

Steven A. Morrow, Richard King, Jason Ruder, Tom Ozanich, and Dean Zupancic, Maestro

Chris Munro, James H. Mather, Chris Burdon, and Mark Taylor, Mission: Impossible – Dead Reckoning Part One

Willie Burton, Richard King, Gary A. Rizzo, and Kevin O'Connell, Oppenheimer

Steven Ghouti, Fabiola Ordoyo, and Laia Picón, Robot Dreams

Best Visual Effects

Jay Cooper, Ian Comley, Andrew Roberts, and Neil Corbould, The Creator

Sanjay Bakshi, Stephen Marshall, Jon Reisch, Junyi Ling, Elemental

Takashi Yamazaki, Kiyoko Shibuya, Masaki Takahashi, and Tatsuji Nojima, Godzilla Minus One

Alex Wuttke, Simone Coco, Jeff Sutherland, and Neil Corbould, Mission: Impossible – Dead Reckoning Part One

Michael Lasker, Alan Hawkins, Bret St. Clair, Pav Grochola, Spider-Man: Across the Spider-Verse

Best Animated Short

Letter to a Pig, Israel/France (The Hive Studio/Miyu Productions)

Ninety-Five Senses (MAST/V42 Venture Studio Fund)

Our Uniform, Iran

Pachyderme, France (Miyu Distribution)

War Is Over! Inspired by the Music of John and Yoko (ElectroLeague)

Full write-up on this category by yours truly here.

Best Documentary Short

The ABCs of Book Banning (MTV Documentary Films)

The Barber of Little Rock (The New Yorker)

The Island in Between, Taiwan (The New York Times)

The Last Repair Shop (Los Angeles Times/Searchlight)

Nǎi Nai & Wài Pó (Walt Disney)

Full write-up on this category by yours truly here. Please don't let The ABCs of Book Banning win, I s2g.

Best Live Action Short

The After (Neon/Netflix)

Invincible, Canada (H264 Distribution)

Knight of Fortune, Denmark (TV 2)

Red, White and Blue (Majic Ink Productions)

The Wonderful Story of Henry Sugar (Netflix)

Full write-up on this category by yours truly here. But we all know Henry Sugar is gonna win it due to Wes Anderson name recognition.

Academy Honorary Awards: Angela Bassett, Mel Brooks, and Carol Littleton

Jean Hersholt Humanitarian Award: Michelle Satter

MULTIPLE NOMINEES (18) Twelve: Oppenheimer Eleven: Killers of the Flower Moon Eight: Barbie Six: The Holdovers Five: Anatomy of a Fall, Spider-Man: Across the Spider-Verse, The Taste of Things Four: American Fiction, Poor Things, Robot Dreams Three: The Creator, Mission: Impossible – Dead Reckoning Part One, Society of the Snow, 20 Days in Mariupol Two: Fallen Leaves, Napoleon, Past Lives, The Teachers’ Lounge

WINNERS 4 wins: Killers of the Flower Moon

2 wins: The Holdovers, Oppenheimer, Society of the Snow

1 win: American Fiction, Anatomy of a Fall, Barbie, Godzilla Minus One, Knight of Fortune, The Last Repair Shop, Letter to a Pig, Poor Things, Robot Dreams, Spider-Man: Across the Spider-Verse, The Taste of Things, 20 Days in Mariupol

16 winners from 23 categories. 34 feature-length films and 15 short films were represented.

[flowergirlmiwa]

miwa musical review: musical #3 - groundhog day musical

recently as someone who has never seen a proper stage musical to any real extent until july of 2023, i've taken interest in checking out this medium. i thought a review series would be funny because all my thoughts will literally be "this was good i think i had fun the people sang and then i was like wow.."

the first musical i watched (yknow outside of two dozen animated musical films which don't count for this) was spongebob the musical because schaffrillas productions an influential YTPer turned video essayist (in the tradition of emplemon while having a lot less fash vibes) made a video about it praising it. i've liked spongebob since 1999 and i like the musical. actually i watched it twice. I like this musical I think it is Good and the Performances were Good and most of the songs were Good but it didnt have much plot and i dont have any observations schaffrillas didnt include in his video.

also that is pretty much the first thing i ever used paramount plus for and ive been Paying For It for six months

the second musical i ever watched was les miserables. personally i'm a little disappointed because there weren't ANY miserable lesbians as far as i could tell, plenty of other miserable people but not visible lesbians. not very swagever of them if you ask me. i actually watched this because of my familiarity with the work through dathings (mentioning lots of YTP in this one). seeing the adventures of joj valjoj unfold before my eyes was a time and i kinda understood what was happening and songs

as a longtime fan of the bill murray movie groundhog day, actually, as someone who would put groundhog day in her top five favorite movies of all time, i was immediately intrigued after sarah z (not a YTPer, as far as i know) praised it in her most recent video. so what do i think? pretty much instantly i got that the musical was a perfect medium for an adaptation of this story, and they pretty much nailed it. maybe the only thing i could have asked for more would be one more song once the day turns over but eh. that was just my random expectation it's not actually a flaw to not have one there. so yeah. that's all i got. i enjoyed it and thought it was a great adaptation of a thing i love

what is the future for me and musicals? will i continue mostly checking out ones that are adaptations of stuff i already like and not even bother with the true classics that i'm not even fully aware of? yes i think

[greensparty]

TV reviews - Geddy Lee Asks: Are Bassists Human Too? / John Lennon: Murder Without a Trial

This week I got to review two unscripted mini-series that both dropped recently on streamers.

Geddy Lee Asks: Are Bassists Human Too?

As the singer and bassist for Rush, Geddy Lee has amassed quite a cult following. They were a thinking man's rock trio where you literally felt smarter just for listening to them. I went through a serious Rush phase as a teen. I had heard their hits, but began buying their 70s CDs one by one. I even learned some of their songs when I was taking guitar lessons. 2112, their epic rock opera, is my personal fave of their discography. In 1996, I saw the band live at the Meadowlands in NJ. Fantastic live band too. Now, Lee is getting his own limited unscripted series Geddy Lee Asks: Are Bassists Human Too? which premiered on Paramount+ last week.

TV poster

Produced by Banger Films and directed by Sam Dunn (who directed the Rush doc Rush: Beyond the Lighted Stage as well as Super Duper Alice Cooper, and ZZ Top: That Little Ol' Band from Texas, this is sort of like Geddy Lee's version of a travel show, where a host visits a different location each episode, talks to a local (or many), and takes in the local food and culture. The four episodes that have been released are Lee speaking with Les Claypool of Primus and The Claypool Lennon Delirium, Robert Trujillo of Metallica, Melissa Auf der Maur of Hole and Smashing Pumpkins, and Krist Novoselic of Nirvana and 3rd Secret. Lee goes to their home, does activities with them and eventually talks and plays music with them. It is very much insider-baseball for musicians.

Lee is an engaging figure and a great host. All of these subjects so far have been bassists who came along after Rush and in some cases there was overlap between their band and Rush, but I think it might be interesting if the next season was bassists who pre-dated Rush. As a huge fan of Novoselic and Auf der Maur, and very familiar with Claypool and Trujillo, I of course was fully engaged in their rapport and conversation. Novoselic showing Lee his grange and flying with him on his plane is something I could watch all day! In some instances, it's Lee discovering things he hasn't done before like surfing with Trujillo. This is a cool show for music geeks, but beyond Paul McCartney the average person can't name too many bassists, so it's nice to see bassists talking shop and then some!

For info on Geddy Lee Asks: Are Bassists Human Too?

4 out of 5 stars

John Lennon: Murder Without a Trial

The December 8, 1980 murder of John Lennon outside his NYC apartment building at the hands of deranged "fan" Mark David Chapman is one of the great tragedies in that he was such a tremendous talent taken from us at age 40 way before his time. I was only about 4 when it happened, so I don't have any "where were you when Lennon was shot" memories (although I was into the Yellow Submarine movie). In later years as I got into The Beatles and Lennon's solo work, I saw many documentaries and specials about that tragedy. Not only was Lennon in a good place and happy with wife Yoko Ono and raising his 5 year-old son Sean, but he had just released a new album Double Fantasy, his first in five years and you got the sense it was the start of a big comeback. I've visited the Lennon memorial Strawberry Fields in Central Park many times. But I digress. The tragic murder is now a 3-part documentary mini-series John Lennon: Murder Without a Trial, which just premiered on Apple TV+.

TV poster

Narrated by Kiefer Sutherland, this is a deep dive into the day of the murder (what Lennon was doing leading up to the assassination, what Chapman was doing), the investigation, the trial and outcome.

Anyone who reads this blog, knows I am a lifelong Beatle and Lennon fanatic. Just recently, I got to review the documentary The Lost Weekend: A Love Story about May Pang’s relationship with Lennon and I also got to review the re-release of The Beatles’ Red and Blue albums. So I went into this very familiar with the subject. The thing that impressed me most was the depth of interview subjects, i.e. cab drivers that night, police and law enforcement that night, Dakota employees and residents, hospital staff and more. Hearing their recollections and some of the archival footage are quite impressive. But the thing that Lennon fans needs to understand going into this is that this is more of a true crime doc than a music or celebrity doc. I say this because there are very few Lennon musical collaborators other than producer Jack Douglas, and Yoko and Sean are shown in archival footage. There have been some fantastic Lennon docs in the past, notably Imagine: John Lennon (possibly the best Lennon doc there's been), The U.S. vs. John Lennon, and LennoNYC. This one is very much looking into the crime itself, the legal ramifications and the outcome. Do not expect to learn much about Lennon himself here if you're a fan, but you might learn quite a bit about Chapman (not that you necessarily want to know more about that monster). As a documentarian I can appreciate this doc series, but as Lennon fan I wanted a little more about Lennon, his family and the recording he was doing at that time, and it only scratched that surface.

For info on John Lennon: Murder Without a Trial

3 out of 5 stars

[ghost-bison]

💥 À tous les fans de Teen Wolf français 💥

J'ai appris par une amie que le film ne sortirait pas en France sur Paramount+ le 26 janvier comme il était convenu. Pour que la déception et la peur soient minimisées le jour venu, je me suis dit que j'allais laisser ce petit mot ici. Si vous avez des amis qui comptaient le regarder, faites passer l'info ! Et si vous parlez bien anglais, alors venez me voir en privé j'ai un ou deux sites de streaming gratuit à vous recommander sur lesquels le film sortira probablement le jour même (enfin j'espère) :x