#elio encanto

[willianghostwriter]

Me Chame Pelo Seu Nome

 Eu assisti ao filme um mês depois do seu lançamento nos cinemas americanos, em dezembro de 2017, e quando eu terminei o filme eu estava me sentindo cheio de vida e amor. Pode parecer estranho sentir essas coisas quando o filme tem um final triste. Ninguém morre, mas mesmo assim, parece que os dois nunca mais iriam se encontrar (para aqueles que não haviam lido o livro). Então parecia um pouco desalinhado que eu tivesse saído do filme com tanto amor e vida.  

 Me chame pelo seu nome é um filme centrado no jovem de 17 anos, Elio, um garoto prodigioso, entediado com sua pacata vida no norte da Itália. Todo verão, os seus pais, um renomado pesquisador chamado Samuel Pearlman, também conhecido como Sr. Pearlman, e sua mulher Annella, recebem um estudante como hóspede para ajudar o Sr. Pearlman em suas pesquisas, enquanto podem trabalhar em seus doutorados, e no verão de 1983 eles recebem o jovem de 24 anos, Oliver.  

 O Elio e o Oliver têm um começo um pouco frio, o Elio, aparentemente, não cai nas graças do “movie star” que é o Oliver e que encanta a todos da casa com o seu charme e inteligência. O Oliver logo tenta mudar esta situação com o Elio, mas o garoto parece estar intimidado com a personalidade do Oliver e seu encanto. O filme trabalha de forma silenciosa o desejo que vai crescendo entre um e o outro, tanto que o Elio tenta em vários momentos surpreender o Oliver com suas habilidades no piano e seu intelecto, o que caba funcionando mesmo quando ele nem está tentando seduzi-lo. Mal sabia o Elio que o Oliver já estava interessado nele logo na primeira semana que o jovem “movie star” havia chegado em sua casa.  

 Existe um sutil jogo de atração entre os dois que é muito bem dirigido pelo Luca Guadagnino, trabalhando bem algumas cenas de tensão, sejam de desejo, de poder ou de confusão, entre os dois. Quando os dois alcançam um ponto de entendimento e se sentem confortáveis um com o outro para poderem expressarem seus desejos e transmitirem carinho um com o outro e construírem uma relação de sintonia em que nem um ou nem o outro se sintam rebaixados, você consegue sentir que tudo no filme faz sentido, como a fotografia, a edição, o posicionamento da câmera, a trilha sonora e tudo o mais. A química entre o Armie Hammer e o Timothée Chalamet é genuína ao ponto de você querer shippar os dois fora da câmera e realmente acreditar que aqueles dois se amavam e tudo o que nós testemunhamos, foi real.  

 Na fotografia, trabalham com muita cor verde e azul. Eu sinto como se fosse para representar o amor novo e jovem que nasceu quase do nada e simbolizar que aquele cenário é como se fosse o paraíso ou Oasis desse casal jovem. Existem muitas cenas estáticas, em que a câmera só observa ou anda junto com os personagens, o que dá muita liberdade para os atores se sentirem bem à vontade. O filme foi feito quase todo na mesma sequência que o roteiro, o que quer dizer que conforme as cenas vão acontecendo no roteiro, também foram sendo filmadas “cronologicamente”, mas o diretor também revelou ter gravado várias cenas à mais, porém foram cortadas na edição final porque senão o filme teria mais de três horas de duração e “eles tinham um filme para ser feito”. Ter sido gravado assim permitiu que os atores “crescessem” junto com a narrativa e a relação dos dois parecessem genuína.  

 A trilha sonora é uma curadoria de músicas clássicas e músicas do rádio que tocavam na época em que o filme se passa. As músicas originais do filme são do Sufjan Stevens que captura bem o sentimento de amor jovem que ao mesmo tempo pode ser desconcertante e proibido. 

Tudo é feito para culminar nas fortes emoções que o filme transmite. Para alguns é a melancolia de uma despedida, para outros é a nostalgia de viver um grande amor. Eu me senti vivo e cheio de amor porque o filme transparece algo sincero e intocável, algo que você só pode achar em um filme de romance bem-feito e que tudo pareça estar no lugar certo, algo que parece ter saído de um sonho ou uma memória bem preservada.

[kylesvariouslistsandstuff]

Mark Henn, loooong time Disney animator who was still with the studio in the recent years, has spoken recently...

He's pretty much kind of done with Walt Disney Animation Studios, feeling that the minimal 2D work he had been doing lately (alongside veterans Eric Goldberg and Randy Haycock) wasn't very "meaningful". He is open to going back to finish a short of his own, that he was working with producer Clark Spencer on, but that's just about it. As the Brew notes, his full-time career there is over. He started on THE FOX AND THE HOUND, which released in 1981, to give you an idea of how long he's been there.

It's quite telling how many of the greats departed or were laid off under both John Lasseter and Jennifer Lee's leaderships. Glen Keane, Chris Sanders, Nik Ranieri, Ron Clements, John Musker, the list goes on... I know a lot of animation fans desperately want Disney to do 2D features again, but I don't see it happening. I haven't seen it happening in years. Whenever a piece of 2D for a short or a promo or a commercial surfaces, twitter goes gaga and says "See Disney?? You can do 2D! No excuses!"

It's not about excuses, they simply DO NOT WANT TO. For whatever reason, no matter how silly it may seem to us.

Henn said it best:

"Since then, I think it’s just too difficult for the studio to justify essentially creating a second studio within this current studio in order to do 2D, which is what you had when we had Princess and the Frog and Winnie the Pooh. We essentially had literally two smaller studios under one roof, and I just think that that became too much of a financial risk. Right now, we’re barely able to house everybody that we have on staff. So, I mean, there’s all kinds of logistical things from where you’re going to put people to taking that risk."

I've talked about it, exhaustively, myself. It's just, the larger Disney company isn't too interested in being - to quote former Disney storyman Steve Hulett - a "Renaissance art factory". In addition to 2D really not being conducive to editorial and a one-a-year assembly line model, WDAS management are simply making movies that they think the public wants to see. They spend upward $135m+ on them, and they try to get one out every year. They're lucky to even be making movies, since they've been nearly shut down far too many times to name... As recently as 2006, even, because one Steve Jobs felt they didn't need to be a thing anymore now that the company owned Pixar. I see them as a "legacy brand" at this point. Still alive, still kicking, probably by virtue of being the thing that created the whole company in the first place... But that's just it. It's very "Disney, the way you always liked it" these days. I think that's part of why STRANGE WORLD and WISH had trouble theatrically, among many other things. Pixar had one miss with LIGHTYEAR, but a leggy sensation with ELEMENTAL. It remains to be seen how ELIO does a year and a half from now. Universal on the other hand is somehow keeping audiences coming back for both DreamWorks and Illumination's movies. With the rare miss every now and then. (SPIRIT: UNTAMED, RUBY GILLMAN, etc.)

But yeah, I've kind of made peace with it. Disney Animation is currently not in the business of making movies for people who can spot a Milt Kahl head swaggle from a mile away, they're making movies for the folks who put on Disney+, and then put on ENCANTO and such as background noise. It just... Is what is. 2D is still there in some way or another, like in short films and small bits of animated effects and whatnot, but... It's a crapshoot to think that they'll do a full feature like that this decade, I feel. If anything, they'll just keep tinkering with the art style of WISH, which... Didn't work on a lot of folks. So... Do they go back to the tried-and-true TANGLED/FROZEN/MOANA house style? I don't know, I don't have a crystal ball. I don't even know if they'll have a movie by Thanksgiving of this year. That new Disney+ series they made that's coming out next month, IWAJU, looks like a slightly upscaled Disney Junior show.

I still look for something I'll like in the upcoming stuff, because... Well, even though Disney Animation is merely a cog in the massive Disney machine at this point with little of an identity left (much like the live-action/CG tech demo end of things), this studio's output... Decades and decades of it, has been formative for me. At least one WDAS movie was someone's gateway to the wider world of animation, methinks. It was certainly my VHS tapes of BAMBI, THE JUNGLE BOOK, and THE LION KING, among many others in my library at age 8, that's for sure. I even *liked* the recent films, I have yet to see WISH all the way through, but I did enjoy STRANGE WORLD enough, and liked ENCANTO, RAYA, FROZEN II, etc. a good deal. It's just, a lot of it is nothing really special to me in the end. Just fine at best, with some impressive stuff here and there. Like, say, some of the directing in ENCANTO. Just fine, adequate. I don't think that of the Disney animated features made before this decade. Even my least favorite animated Disney work of the '70s, '80s, '90s, and '00s still has something very unique and influential to it. I don't intend for this to be a knock on the crews' hard work, it's only my personal feelings on what I've seen. It's what they seem to want to be making, or what the management is approving of... I can kick and scream, but, that won't do anything. I'll just see what's next and say "Well, let's see... What will I get out of this one?"

I've long accepted that the ship sailed on 2D features at WDAS, and most of the other big theatrical studios for that matter. Many of whom never even MADE a 2D feature. Pixar never made one, Illumination didn't, Sony Animation didn't until FIXED, you get the idea. The only other one that's still chugging is DreamWorks, and they made their final 2D feature back in 2003. Twenty-one years ago. I look elsewhere for that kind of thing, and I found just that... KLAUS, WOLFWALKERS, you get the idea. The best you'll get in theaters is an adaptation of a 2D animated show or pre-existing franchise, like THE BOB'S BURGERS MOVIE. I doubt that pending-theatrical release Looney Tunes movie, THE DAY THE EARTH BLEW UP, will be the great decider of the future of 2D animated movies in theaters. Ditto FIXED, *if* that's still aiming for theaters. (It got its rating from the MPA a long while ago. It's done. It's in the can... and there's no release date for it.)

So... Yeah... Is what it is. WDAS seems to refuse to do a 2D feature, and have been refusing for over a decade (I really think PRINCESS AND THE FROG and WINNIE shut the door permanently, like an encore that they fought to make happen), and the kind of movie that they're making now may just not be for me and others for the foreseeable future. We'll see where their next path takes them... As long as they come out whatever happens still making movies...

[disneytva]

Pupstruction to Wag Its Tail on Disney Junior and Disney+ in June 14 With Merchandise Plans and Music Album

Disney is getting ready to unleash a pack of new animated pooches on June 14 with Pupstruction an imaginative, music-filled animated series from Titmouse Inc.& Disney Junior Educational Resource Group the show is set to premiere WEDNESDAY, JUNE 14, with a simulcast on Disney Channel and Disney Junior (8:00 a.m. EDT). An initial batch of episodes will premiere the same day on on-demand platforms and Disney+.

Joining the previously announced voice cast in recurring and guest star roles for season one are Olga Merediz (Walt Disney Animation Studios “Encanto” Franchise) as Grandma Dee, Todrick Hall (“The Masked Singer”) as Harvey Hare, Gabriel Iglesias (Netflix Animation “I, Chihuahua”) as Felipe and Nate Torrence (Walt Disney Animation Studios “Zootopia” Franchise) as Chameleo.

“Pupstruction” centers on crew leader Phinny, an innovative young corgi who dreams up some of the biggest and wildest ideas to help his town of Petsburg. The other members of Pupstruction are Luna, a comically spontaneous sheepdog; Roxy, a can-do rottweiler; and Tank, a lovable, snack-obsessed mastiff. Although Phinny might be the smallest pup on the crew, he proves that you don’t need big paws to have big ideas. Together, the Pupstruction crew uses mud, sweat, drool and plenty of heart to build and create.

The series stars Yonas Kibreab (Pixar Animation Studios “Elio”) as Phinny, Carson Minniear (“Big City Greens” Franchise) as Tank, Scarlett Kate Ferguson (“I’m Dying Up Here”) as Roxy and newcomer Mica Zeltzer as Luna, as well as Yvette Nicole Brown (“Firebuds”) as Mayor Gilmore, Bobby Moynihan (”DuckTales”) as Bobby Boots, Grey DeLisle (“Scooby Doo Franchise”) as Maya, Kari Wahlgren (“The Ghost and Molly McGee”) as Scratch, Eric Bauza (“Muppet Babies 2018”) as characters Harry, Sniff and Lloyd, and Alessandra Perez (“T.O.T.S. Tiny Ones Transport Service”) as Bailey.

Pupstruction is created by Travis Braun (”T.O.T.S. Tiny Ones Transport Service”) the series’ creative team for season one includes Victor Cook (”T.O.T.S. Tiny Ones Transport Service”) as executive producer, Robyn Brown (“Muppet Babies 2018”) as co-producer/story editor and Abigail Nesbitt (”T.O.T.S. Tiny Ones Transport Service”) as supervising director. Rob Cantor (Disney Television Animation’s “The Ghost and Molly McGee”,Chibiverse”) is songwriter and composer.

The main title theme song, written by series’ songwriter/composer Rob Cantor, will be released on Friday, May 12. The full digital soundtrack, “Disney Junior Music: Pupstruction,” featuring the theme song plus additional songs from the series, will be released by Walt Disney Records on June 14.

Disney Consumer Products, Games and Publishing is developing product lines inspired by the series featuring apparel, figures, vehicles, role-play products, plush, books and more.

[disney-film-tourney]

Hey everyone!

I'm recycling the Animal Crossing Tourney side blog for Disney now, so it's had a bit of a makeover.

So here are the movies I'm thinking of doing. I'll add notes for the questionable ones. Please let me know if there are any you want me to remove or add.

Some notes to start off with:

- There are four groups: Golden to Bronze, Dark Ages to Renaissance, Post-Ren, and Revival

- They're ranked by how they're rated on IMDB

- I only have the first film of each franchise included

- Only fully animated films are included (old school and CGI.) So the part live action, part animated films were left out. (But if anyone really wants them added, I'll go back and include them. Mostly did it like this so I wouldn't have to do Song of the South 😬 since I think that's mixed)

Golden to Bronze:

(1) Fantasia

(2) Snow White & the Seven Dwarfs, The Jungle Book

(3) Pinocchio, Robin Hood, The Many Adventures of Winnie the Pooh

(4) Bambi, Cinderella, Alice in Wonderland, Peter Pan, Lady & the Tramp

(5) Dumbo, Sleeping Beauty

(6) The Sword & the Stone, The Aristocats

(7) The Adventures of Ichabod & Mr. Toad*, The Rescuers

(8) Victory Through Air Power*

(9) Make Mine Music*

*I haven't actually seen any of these, but they're old Disney films

Dark Ages to Renaissance:

(1) The Lion King

(2) Toy Story

(3) Beauty & the Beast, Aladdin

(4) The Nightmare Before Christmas*

(5) The Little Mermaid, Mulan

(6) The Brave Little Toaster*, Hercules, Tarzan

(7) The Fox & the Hound, A Bug's Life

(8) The Great Mouse Detective

(9) The Hunchback of Notre Dame

(10) A Goofy Movie

(11) Pocahontas

(12) Oliver & Company

(13) The Black Cauldron

*The Nightmare Before Christmas - Tim Burton was working for Disney at the time. Film was released through Touchstone Pictures (owned by Disney) due to concerns it was too scary for kids. It's also been reissued under Walt Disney Pictures.

*The Brave Little Toaster - Original Pixar members were involved. Walt Disney Studios got rights to the book in 1982.

Post-Ren:

(1) WALL-E

(2) Finding Nemo

(3) Monsters, Inc., Ratatouille

(4) The Incredibles

(5) The Emperor's New Groove

(6) Lilo & Stitch

(7) Treasure Planet, Cars

(8) Atlantis: The Lost Empire

(9) Brother Bear, Meet the Robinsons, Bolt

(10) Paris 2054: Renaissance*

(11) Dinosaur

(12) Chicken Little

(13) Home on the Range

(14) The Wild

(15) Roadside Romeo*

*Paris 2054: Renaissance - Released by MiraMax when they were under Disney. Disney provided some funding. Personally I'm iffy on this one since it doesn't feel very Disney, and it's rated R.

*Roadside Romeo - Produced by Walt Disney Pictures India, Yash Raj Films, and Disney World Cinema. Distributed by Walt Disney Motion Pictures.

Revival:

(1) Coco

(2) Up

(3) Inside Out

(4) Zootopia, Soul

(5) Big Hero 6

(6) Tangled

(7) Moana

(8) Frozen, Onward, Luca

(9) Raya & the Dragon

(10) Encanto

(11) The Princess & The Frog, Brave

(12) Ron's Gone Wrong*, Turning Red

(13) Frankenweenie

(14) A Christmas Carol*, Arjun: The Warrior Prince*

(15) The Good Dinosaur

(16) Gnomeo & Juliet*

(17) Strange Magic*

(18) Strange World

(19) Mars Needs Moms*

(20) Elemental*, Wish*, Elio*

*Ron's Gone Wrong - Released by 20th Century Studios after being acquired by Disney. The soundtrack was released by Walt Disney Records.

*A Christmas Carol & Mars Needs Moms - Produced by ImageMovers Digital, a joint venture animation company by ImageMovers & The Walt Disney Company. Released by Walt Disney Pictures.

*Arjun: The Warrior Prince - Produced by Walt Disney Pictures & UTV Motion Pictures.

*Gnomeo & Juliet - Produced by Touchstone Pictures (owned by Disney), Rocket Pictures (parent company is Lucasfilm which is now part of Walt Disney Studios - look at that chain~), & Starz Animation. Distributed by Walt Disney Studios Motion Pictures.

*Strange Magic - Produced by multiple Lucasfilm companies (under Disney), & Touchstone Pictures (owned by Disney.) Distributed by Walt Disney Studios Motion Pictures.

*Elemental, Wish, & Elio - To be released 6/16/23, 11/22/23, & 3/2024, respectively. Elemental & Elio are both Pixar, & Wish is Walt Disney Animation Studios.

[remmammie]

Since the new year is finally here, have you heard of the new Disney movies that are coming too in 2023? Like wish, iwaju, or elio? I've asked lots of people this but, For the new kingdom hearts game coming out, what worlds are you hoping to see, or would eventually like to see? And some things in the series you want to see being addressed more?

Ooh, I'm not massively up to date with Disney movies in terms of what's to come, but I there are a few Disney movies or titles under Disney's license that I'm hoping will get KH worlds in the end.

Encanto is definitely one of them. It's themes pertaining to the heart, dreams, and morality I think make it perfect for a possible Kingdom Hearts world and some of the characters' motivations fall in line with that of characters from KH so I think they could find some common ground to build stories off of. Terra and Lisa remind me a lot of each other, maybe Aqua and Abuela too - all focusing on the ideas of not being strong enough and wanting to keep people safe no matter the cost to others or themself. Aesthetically, Encanto would make for a beautiful KH world too.

I'd really love for KH to become very character focused in the next few installments, but maybe that's just because I love the characters as they are. It'd be amazing to focus on some of the more powerful characters and their insecurities: seeing characters like Sora and Aqua crumble at the sights they saw at the end of KH3 was super interesting as much as it was heartbreaking. I need to see how characters like Kairi, Xion, and Terra will develop after all they've been through and I hope to see a lot more of them in this next arc/phase.

[peppermint-joys]

Elio is such a sensitive soul. In spite of his withdrawn personality, Elio loves to look on the bright side of life. He’s only seven, but can already be considered a hopeless romantic. His little heart would crumble to pieces if his favorite prima, Dolores, and Señor Mariano broke up.

[boldlyspeedydreamerreturns]

Getting on the hype train and made an Encanto OC.

(OC maker from Picrew.me)

Meet Elio Madrigal.

He's Bruno's son. His mother unfortunately passed during childbirth, which Bruno predicted would happen if she became pregnant, but she chose to do so anyways. The necklace he wears belonged to her. He's right between Luisa and Mirabel in age. (I was originally going to make his gift seeing and speaking to the dead, but that felt too cliche so I thought of something else.)

His gift is that when he reads a book out loud, the story comes to life and plays out around him. The children in the village love when he reads to them and they can watch the story unfold. His room in the casita looks like a massive library with every book you could imagine and lots of natural light for optimal reading. His bed can float around the stacks and take him to any book he asks for. He'll never admit it, but he loves cheesy romance novels. He only reads them when he's alone. Besides that, his favorite genre is Fantasy.

He has a very strained relationship with Abuela and Isabella specifically. Neither of them consider his gift to be very useful. Entertaining sure, but not useful or anything that can really benefit the family. He knows that his father is still in the casita, and will bring him food and keep him company as much as he can. He'll also keep lookout for the rest of the family so Bruno can shower and whatnot without being seen. He knows about his father's prediction about Mirabel, and never says anything about it until she finds out. Elio loves Luisa most. She gives really good hugs when he's upset. He's extremely perceptive and can tell when Luisa is really in need of a break, so sometimes he'll ask her to help him rearrange his books in his room, but that usually just ends up being the two of them cuddled together on his bed reading different books for a couple hours until Abuela comes calling for Luisa again.

Because of how much he reads, Elio is very smart for his age and wants to someday become a teacher and work at the school in the town where he and all his cousins went. He gets really angry and upset about the family and town refusing to talk about his father after he goes into hiding. Augustin and Julieta have done their best to care for their nephew since Bruno disappeared. He's not as fond of Pepa, because her mood swings and storms have damaged his books before. He likes Felix well enough, but thinks he can be too loud. Camilo and Antonio always want to listen to Elio tell stories. He used to read Camilo to sleep when they were small, and still does so for Antonio when asked. Delores is the only one that knows he likes romance novels, but it's okay because she likes them too. They like to have snacks together and talk about their favorite book series.

When things start to fall apart he immediately takes Mirabel's side and rounds on Abuela about how she treats both of them and his father. When Mirabel starts looking for Bruno, Elio happily takes her to his father's hiding place. He saves as many of his books as he possibly can before the casita collapses. Once everything calms down and Bruno officially rejoins the family, Elio is much happier and more confident with his gift. He'll sometimes get so wrapped up in what he's reading he doesn't notice the scenes coming to life around him. He's not allowed to read historical books in the casita anymore since a tribe of Amazon warriors broke the dining table.

Elio is a pretty quiet guy. When he isn't reading something out loud, he doesn't talk a lot on his own. His answers to questions are rarely longer than a couple words or a single sentence. He also has a hard time being around a lot of people at once, so when his family hosts parties, he tends to hide out in his room or cling to one of his family members so he doesn't get too anxious.

That's all I have for now. What do you think?

[cmivr]

♡ ﹑ MODERN ENCANTO SCRIPT

RULES !

⨯ i am immune / safe from death, major injury, traumatic events

⨯ i cannot be forced out of my DR unless i state my safe command

⨯ i automatically open my eyes when i shift

⨯ i shift in modern encanto, in 2022, and covid does not exist

⨯ i remember everything from my DR when i return to my CR

⨯ my subconscious knows the rest of my rules that are not stated

safe command : knocking on wall + “waiting room!”

time ratio : 1 hour = 1 week

DESIRED REALITY !

my desired reality is in encanto, meaning everyone will be animated as is, but takes place in the modern world! encanto is now a real town in colombia, and abuela is still a highly respected matriarch. there are now schools in encanto, and the town has expanded and modernized a lot. the townspeople will remain the same, but will all be wearing modern clothing. everyone will now have access to the latest technology, and will understand memes, references, culture, and slang words. i will be friends with whomever i desire while i’m there. it will include the characters from turning red, including 4*town.

DESIRED SELF !

name / nicknames : elle jacinta sanchez / eli, ella, ellie, elio, lili, lilo, lei

age : i shift in at 15 years old, born on february 15th

backstory : born to colombian-filipino parents, have a healthy happy and rich family, always at the top of my class, chaotic childhood friends with camilo and mirabel

hobbies / skills : singing, graphic design, poetry, (kpop) dancing, reading, gaming

desired appearance : animated, similar to moana’s pretty concept art, but with lighter skin, bangs, glasses, and light freckles. outfit, hair, and makeup board is here

additional :

⨯ i always have a good comeback to insults

⨯ i always smell like strawberries / vanilla

⨯ i don’t stutter when i’m angry or arguing with someone

⨯ my hair will always be very soft

⨯ i am naturally intelligent, funny, and witty

⨯ i am very charming and likeable

⨯ i am a fast learner and excel in schoolworks

⨯ i can cook and bake very well

⨯ i am good with self care / fashion / makeup

⨯ sometimes i snort when i laugh and i blush easily

RELATIONSHIPS !

all relationships will remain the same as they are in the original dr. yes, including camilo being my lover-

EXTRAS !

⨯ my family and friends love me unconditionally

⨯ i always have money on me

⨯ i am immune to dropping my phone

⨯ i find it easy to say ‘no’

⨯ crime doesn’t exist

⨯ global warming doesn’t exist, the environment is healthy

⨯ i know the cultural expectations/manners of every country

⨯ homophobia, sexism, racism etc. doesn’t exist

⨯ everybody respects each other’s religions

⨯ there are no such thing as beauty standards, just hygiene standards

⨯ i am immune to getting attached to my dr

⨯ nobody questions why i’m so excited when i shift

⨯ there is no such thing as a dress code

⨯ i own an extensive collection of makeup

⨯ my chosen restaurant/cafe/etc. is immune to being sold out of my favourite foods or cravings

⨯ my living space is immune to mess

⨯ showers are sound proof and can play my chosen music

⨯ mental health is validated

[1337wtfomgbbq]

Elio: Oh my god, there’s a rat in here!!

Riccardo: Do you think Bruno’s here?

Elio and Riccardo: We don’t talk about Bruno~~

Bruno: Okay guys, real talk. I have not seen En-ca-tato-

Elio and Riccardo: ENCANTO!!

This one is for @riccardo-and-elio to hopefully chear them up a little.

[multifandomxreader]

my fics:

These are all male reader and gender-neutral if it doesn't say (GN) its male reader!!!

Alice In Borderland

Band Of Brothers

Criminal Minds

Divergent

Enola Holmes

MCU

Supernatural

The Walking Dead

random

Jack Sparrow :

fluff, little bit angst ✨

Bakugou Katsuki:

peppermints: Let's say this fic is very incorrect and almost an au where Bakugou is nicer and Midoriya is meaner ✨

Charlie Kelmeckis (tpobaw):

angst but fluff in the end ✨

Elio Perlman (cmbyn):

piano: slight smut, fluff ✨

Mike Deli (Hubie Halloween):

Halloween special: fluff, implied smut (GN) ✨

Ransom Drysdale (Knives Out) :

Photogenic: photographer reader :) , fluff ✨

Bruno Madrigal (Encanto)

[cinetecabelladonna]

Call Me By Your Name

Año: 2017

Duración: 2h 12min

Dirección: Luca Guadagnino

Guion: Luca Guadagnino, James Ivory y Walter Fasano

Música: Sufjan Stevens

Montaje: Walter Fasano

Producción: Luca Guadagnino, Emilie Georges, James Ivory

Productora: Frensy Film Company, La cinefacture, RT Features, Water’s End Productions

Distribución: Sony Pictures Classics

País: Italia

 Verano de 1983 en el norte de Italia, Elio Perlman (Timothée Chamalet), un chico ítalio-estadounidense de 17 años, pasa los días en la villa familiar transcribiendo y tocando música clásica, leyendo y saliendo con su amiga Marzia (Esther Garrel).

La cinta intenta mostrar una amplia cultura en un entorno que rebosa de encantos naturales. Aunque la sofisticación y don intelectual de Elio podrían sugerir que es un adulto, todavía tiene cierta inocencia y temas en los que desarrollarse, especialmente en los del corazón. Su padre (Michael Stuhlbarg), un ilustre profesor especializado en cultura greco-romana, y su madre Annella (Amira Casar), una traductora, invitan a Oliver (Armie Hammer), un investigador americano que trabaja en su doctorado, para ayudar al padre de Elio como becario. En medio del soleado esplendor de este marco, Elio y Oliver descubrirán la embelesadora belleza del despertar sexual a lo largo del verano.

TRAILER

PELÍCULA 

[kylesvariouslistsandstuff]

We're about a month away from the release of WISH...

Walt Disney Animation Studios, and by extension the whole dang company built on this cartoon bedrock, celebrated their 100th year yesterday... ABC aired ENCANTO, in addition to the world premiere of the short film ONCE UPON A STUDIO (which apparently has now been chopped off of WISH and will debut elsewhere), and an edited version of the WISH trailer... Nothing pertaining to the future was unveiled...

(By the by, I don't have cable, so... I didn't get to see ONCE UPON A STUDIO. Sadface.)

You'd think, for the company's 100th anniversary... That there'd be *some* word on what was coming up next from Walt Disney Animation Studios?

Their new movie is in theaters next month, and we don't know what the November 27, 2024 release from them is...

By now, we usually know what's next... For example:

WISH was first unveiled in September 2022 at the D23 Expo, which was a little over a year before the movie's target release date.

STRANGE WORLD, by contrast, was announced a little under a year before its release. That film was revealed to the public via the trades and Disney themselves on their socials.

ENCANTO was revealed in December 2020 during the company's Investors Day event, that less than a year before it came out.

RAYA AND THE LAST DRAGON was another D23 reveal, the August 2019 one to be exact. At the time, RAYA was set to be a Thanksgiving 2020 release until COVID-19 complications pushed it to March 2021.

This, of course, does not count the rumors and scoops. Sometimes, various sites get news on Disney animated movies before Disney themselves say anything. For example, long before Disney announced RAYA in August 2019 to the public, scooper sites were revealing info like "WDAS' next movie is DRAGON EMPIRE". I sometimes heard stuff from the trenches, which was always fun. I remember little snips of what ENCANTO was going to be maybe a year or two before announcement? STRANGE WORLD is interesting because not only were scoopers saying a movie called "Searcher Clade" was coming, but the Venture - the airship the Clade family and the explorers use to reach Avalonia's insides - was Easter Egged in the ENCANTO credits. ENCANTO debuted just a few weeks before the announcement, not even...

So yeah, I thought I'd look at the patterns of their recent releases. We're definitely well beyond the days where you'd hear about things 2-3 years in advance. Remember how ZOOTOPIA, a March 2016 release, was first unveiled at the 2013 D23 Expo? Fun times.

I'm guessing we'll hear about this new WDAS movie, reportedly an original fantasy story set in the Middle East (is this Suzi Yoonessi's film?), either right before WISH comes out... Or maybe a little after. Maybe current world events pertaining to the setting would make an imminent announcement seem a little insensitive?

After this movie, all we know about on the horizon are undated FROZEN and ZOOTOPIA sequels, with next to no info on who's attached.

There's also still the Disney+ shows that are in the works. We got none this year, despite earlier reports indicating otherwise. IWAJU, MOANA: The Series, and TIANA remain without firm release dates, but are all aiming for next year. IWAJU's absence is especially unusual, it's pretty far long as far as I know. Last year's D23, again - in September, gave us an image. Maybe it's been pulled back? Retooled? Maybe because it was outsourced to Cinesite and kinda resembles a Disney Junior show... Maybe it's been dropped as a WDAS project and is now a Disney TV Animation production? It's only speculation on my end, because that show is a collaboration with upstart Nigerian house Kugali, and that would be a partnership squandered if WDAS passed on the show.

Anyways, with Pixar... We got WIN OR LOSE around the corner, and next year ELIO and INSIDE OUT 2 have firm release dates. Both of those, by the way, officially revealed at the September 2022 D23 Expo. Pixar usually rolls 'em well before release, WDAS cuts it a lot closer these days for some reason. Like, are we gonna know what the summer 2025 Pixar movie is *before* the fall 2024 WDAS movie? (I'm being facetious here, haha.)

I'll keep trying to be patient, but I'm like burning to know... What is *this* movie?

Worth noting that a while back, Disney Animation CCO Jennifer Lee stated that Suzi Yoonessi, Josie Trinidad, and Marc Smith had movies in the works. At the time, Carlos Lopez Estrada had a movie in the works as well, but then he was pulled off of it (reportedly called FOSTER) to take over RAYA... and then he left Disney altogether not too long after RAYA came out. He was also set to direct a live-action/CGI ROBIN HOOD remake for the enterprise... So that leaves Yoonessi (whose Instagram bio still says "Director - Disney Animation"), Trinidad (who recently directed episodes of ZOOTOPIA+), and Smith (who was recently revealed to have come up with the idea for FROZEN III, he's probably directing that if Chris Buck is unavailable).

So yeah... This information, along with two sequels...

I said it before, but I don't think either ZOOTOPIA 2 or FROZEN III are next year's movie. If they were, I think we'd know who is directing/writing/etc. FROZEN III, given that Marc Smith came up with the idea, might be closer to us than ZOOTOPIA 2 is. Or not. FROZEN II came out 4 years ago, ZOOTOPIA is over 7 years old, one would think ZOOTOPIA 2 comes first. They're just very mum on who is involved. I'd like to think ZOOTOPIA 2 isn't being directed by Byron Howard, who is likely pursuing another original movie after ENCANTO, but maybe not? ZOOTOPIA 2 might reincorporate the whole movies' worth of ideas that were thrown out during its development (I particularly like that more James Bond-like story set on an island that it could've been), or maybe it'll go for an all-new story and idea. I have no idea where FROZEN III could go, I'm not as invested in those movies.

While WDAS usually does one-a-year, always settling for Thanksgiving, it'd be cool if they take a year where Pixar doesn't have two new movies, and release two movies that year. If they FEASIBLY CAN, that is. We don't want CRUNCH, now... But in the scenario that they could... Pixar has two for 2024, and two for 2026... Who's to say... WDAS can't slot in, maybe, ZOOTOPIA 2 in the spring of 2025, and have an original out for Thanksgiving? Just spitballing, here. ZOOTOPIA and MOANA both came out in 2016, so why the heck not?

Anyways, hope to know more soon about what's up with the studio that's literally why this whole damn company even exists in the first place.

[theeggreview]

CALL ME BY YOUR NAME

Esta temporada de premios ha sido complicada, no por la falta de buenas películas, sino por el exceso de ellas. Todas diferentes, cada una con mérito propio; una historia en particular, un mensaje que trasmitir y una visión única que plasmar. Desde Get Out,  The Shape of Water, Three Billbords Outside Ebbing Missouri, hasta Call Me by your Name (todas grandes y feroces competidoras) merecen ser mencionadas y alabadas por sus múltiples virtudes, lastimosamente, acá, en esta pequeña reseña sólo tenemos espacio para una.  

Aún no tengo favorita y me costó en el alma escoger sobre cuál escribiría, así que esta reseña no representa más que el orden en el que comencé a verlas. Llegó el turno de Call me By your Name.

-¡Qué hermosa historia! Por Dios-, eso es lo primero que se me viene a la mente.  Oliver y Elio, Italia, el verano, dicha y placer, un universo completamente sensorial en el que quieras o no te verás totalmente sumergido.

Es una película que nos evoca sensualidad, que nos hace ver, oler, tocar aquello que está en la pantalla; lo intangible. Nos encontramos en una villa italiana, y aunque en realidad estamos bajo el frio aire acondicionado de una sala de cine en Bogotá, sentimos el sol tocando nuestra mejilla y el agua que salpica del lago a nuestro costado, todo nos hace sonreír, somos presos de la indulgencia y nos permitimos sentir a través de las puestas en escena que este gran director  construyó para nosotros.

En esta película, más que una historia con giros extraordinarios, Luca Guadagnino nos invita a sentir y a transformar prejuicios en dicha y placer, somos amantes de una pareja en la que no vemos dos hombres o una gran diferencia de edad, sino el dulce encanto de dejarse llevar por tus pasiones, de ser feliz sin algún tipo de restricción, de querer y dejarse querer.  

Admitiré que en un principio no me vi reflejada en los personajes, para mí, eran figuras completamente ajenas a lo que conozco y me es familiar, pero de ahí la magia del director y su increíble visión, y aquello que pensé sería su mayor debilidad, se convirtió en su mayor fortaleza. Luca nos presenta a un par de personajes que parecen perfectos, sin fallas o defectos y después nos demuestra que el sentir, no mide inteligencia o riqueza,  no da pistas extras, ventaja o superioridad, la realidad es que sigues siendo igual de torpe al resto de nosotros. El amor nos hace disfrutar y sufrir a todos por igual y las dudas que éste genera, permanecerán en ti, en ella, en él, por más que creas tener todas las respuestas.

Oliver: Well, you seem to know more tan anyone else around here.

Elio: Well, if you only knew how Little I really know about things that matter.

---------------------------------------------------------------------------------------

Elio: Oliver may be very intelligent but…

Mr. Perlman: Ah… he was more tan intelligent. What you two had, had everything and nothing to do with intelligence.

Armie Hammer y Timothée Chalamet le dieron vida a dos hermosos personajes, transmitieron sin temor, lo que muchos sentimos o vivimos y poco nos atrevemos a narrar, o lo que nunca viviremos y soñamos con tener. Qué vívidos instantes, que hermosa sincronía. Michael Stuhlbarg, serás el padre que todos los padres odiarán, nadie jamás podrá tener el comprensión y dulzura que Mr. Perlman le brindó a Elio.  

No puedo decir que conocía el trabajo de Luca, pero sí puedo asegurar que de ahora en adelante seré su fan.

Duquesa Von Eggersen

[blogentupantalla]

Estreno en España el próximo 16 de febrero de 2018 de la mano de Sony Pictures.

Todavía queda una larga espera para ver la nueva película de Luca Guadagnino, un cuento sensual y trascendental sobre el primer amor. Está basada en la aclamada novela de André Aciman. Será la película de apertura de la sección Perlas de la 65 edición del Festival de Cine de San Sebastián el próximo viernes 22 de septiembre. Pero no se estrenará en España hasta el próximo 16 de febrero de 2018.

Es el verano de 1983 en el norte de Italia y Elio Perlman (Timothée Chamalet), un chico ítalo-estadounidense precoz de 17 años, pasa los días en la villa familiar del s. XVII transcribiendo y tocando música clásica, leyendo y flirteando con su amiga Marzia (Esther Garrel).

Elio tiene una estrecha relación con su padre (Michael Stuhlbarg), un ilustre profesor especializado en cultura grecorromana, y su madre Annella (Amira Casar), una traductora, y entre ambos le han dotado de una amplia cultura en un entorno que rebosa de encantos naturales. Aunque la sofisticación y don intelectual de Elio podrían sugerir que es un adulto hecho y derecho, todavía tiene cierta inocencia y temas en los que desarrollarse, especialmente en los del corazón.

Un día, Oliver (Armie Hammer), un cautivador investigador americano que trabaja en su doctorado, llega para ayudar al padre de Elio como becario durante el verano. En medio del soleado esplendor de este marco, Elio y Oliver descubrirán la embriagadora belleza del despertar sexual a lo largo de un verano que cambiará sus vidas para siempre.

#gallery-0-5 { margin: auto; } #gallery-0-5 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 33%; } #gallery-0-5 img { border: 2px solid #cfcfcf; } #gallery-0-5 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */

Primer TRÁILER en castellano de #CallMeByYourName y una selección de fotos @sonypictures_es Estreno en España el próximo 16 de febrero de 2018 de la mano de Sony Pictures.

[kylesvariouslistsandstuff]

WDAS' Next Film After WISH...

As of now, only one Walt Disney Animation Studios movie is on the larger Disney company's massive movie slate... A Chris Buck/Fawn Veerasunthorn-directed centennial celebratory picture called WISH, which was first revealed to the world at this past D23 Expo. It will, as usual, be a Thanksgiving week release.

No other WDAS film, titled or untitled, is dated for anywhere beyond that. Pixar, in addition to this summer's Peter Sohn romantic comedy ELEMENTAL, has two features dated for release in 2024: Adrian Molina's spacebound tale ELIO and Kelsey Mann's INSIDE OUT sequel. The former is a March release, the latter a June release. Given the usual pattern, the 2024 WDAS movie should be a Thanksgiving bow...

When Disney announces this release date, I do not know...

What the movie could possibly be? Well, let's see...

A while back, it was announced that the likes of Josie Trinidad (previously writer/director on ZOOTOPIA+), Marc Smith (story artist and animator whose work dates back to THE LION KING), and Suzi Yoonessi (a live-action director with no previous WDAS or animation credits) were set to direct their own pictures. At the time of that announcement, fall 2019, Carlos Lopez Estrada was also in the running to direct his own original feature. He eventually got pulled over to RAYA AND THE LAST DRAGON - which he directed with Don Hall (previously co-director on MOANA, and director of BIG HERO 6 and WINNIE THE POOH), and was set to head up a "live-action"/CG-laden remake of their 1973 all-animals ROBIN HOOD film, with his own WDAS picture still on the way... Until he left last year...

Since that announcement, we've had two Don Hall pictures (RAYA and STRANGE WORLD), and a Byron Howard picture (ENCANTO), with a previously-unannounced Chris Buck/Fawn Veerasuntorn picture on the way. So does this mean one of those three directors are up next? Are they even still set to direct their own features? Given how things go into development and then get cancelled so easily, we may never know until Disney themselves announce what's coming... That is of course the usual in big-time animation, and scarily more so than ever before these days. Just look at what's happening with Netflix and Warner Bros. Discovery's animation output.

So it could be one of those three directors' projects, or something never before heard of... At least by the public. We used have to very reputable blogs that got a hold of some serious juicy insider info (Blue Sky Disney, for starters), but it's not much of a thing anymore. Anyone remember those "leaks" that said an adaptation of BLUEBEARD would be announced?

Another possibility is a sequel to something. Walt Disney Animation Studios' history of avoiding sequels has many explanations. For decades, Walt himself resisted making animated feature sequels. Then in the post-Walt years, the upper brass seemingly sought to honor his aversion to such projects. Any serious idea of doing a sequel, such as a brief period of time where THE RESCUERS was to have Cruella de Vil as its villain, usually didn't last past development stages. When the outside world took over the tight-knit enterprise, namely big-time Hollywood executives like Michael Eisner and Frank Wells and Jeffrey Katzenberg, then sequels to animated movies weren't so forbidden anymore... But their stab at this, the 1990 release THE RESCUERS DOWN UNDER, was financially unsuccessful... This of course lead to nearly every sequel to a Disney animated feature being a direct-to-video affair produced at another animation house.

That was, until Eisner stepped down in 2005, Bob Iger took his place as CEO, and appointed Pixar's John Lasseter and Ed Catmull as heads of Disney Animation, Pixar, AND Disneytoon, the latter the division that made all of those direct-to-video films. Lasseter had them cease production on all sequels to the classic Disney animated films, and until their shutdown in 2018, the studio made CGI Tinker Bell spin-off movies and the PLANES spin-off of Pixar's CARS franchise. Walt Disney Animation Studios in the post-Eisner/post-DTV sequel age made WINNIE THE POOH, RALPH BREAKS THE INTERNET, and FROZEN II... There hasn't been a sequel from them since, nor the hint of one happening. BIG HERO 6 and ZOOTOPIA saw their "official" continuations in the form of Disney+ shows: BAYMAX! took place after BIG HERO 6, and ZOOTOPIA+ was a "midquel" where all the segments were happening within the plot of the movie itself. The TIANA and MOANA series they're deep in development of will be following up from their feature-length predecessors. I bet in a little while, we'll hear about an ENCANTO series next.

However, FROZEN and FROZEN II were both billion dollar smash hits, so FROZEN III is likely happening at some point. A ZOOTOPIA sequel is feasible as well, given that that film made a billion worldwide as well and is set in a world that's ripe with possibilities, BIG HERO 6 even. However, animated movies take a while to make and Walt Disney Animation Studios only gets out one feature a year in this day and age. And that doesn't count how in 2016, ZOOTOPIA and MOANA both debuted, ZOOTOPIA probably would've been a fall 2015 release had Pixar not taken up both the summer (INSIDE OUT) and fall slots (THE GOOD DINOSAUR) that year. Pixar, meanwhile, does two films every two years. Following 2015 and 2017 (CARS 3 and COCO), 2020 had ONWARD and SOUL, 2022 had TURNING RED and LIGHTYEAR, 2024 will have ELIO and INSIDE OUT 2.

But WDAS sticks to doing one a year, that is... when other things don't happen. WDAS had to miss 2020 because of COVID-19, RAYA was originally set to be that year's Thanksgiving release, it ended up opening in March 2021 instead. So... With theaters back in business, they're back to doing one a year. I feel that if they were successfully doing two pictures every year or every two years, you'd probably see more sequels.

So... The candidates... Those three directors, a sequel to one of their recent success, *or* hear me out...

What if they were to announce something that was supposed to come out ages ago, but for whatever reasons... Didn't?

Like, imagine if Walt Disney Animation Studios sometime later this year blew your minds and said... Our 63rd feature, releasing in Thanksgiving 2024, is GIGANTIC...

GIGANTIC is perhaps, of all the films that were in development at the studio in the 2010s, the one that lots of folks online want the most. A musical adaptation of the familiar Jack and the Beanstalk tale that was about a world of giants living up in the clouds. It had a lot of potential for sure, and it got the axe under Lasseter and Catmull's tenture, its director Nathan Greno (previously director of perennial favorite TANGLED) left the studio for Skydance. (Is he still directing that POWERLESS/POOKOO movie over there?) Which, ironically, Lasseter now heads up. Its other director, Meg LeFauve (who coincidentally worked on a TV show called GIGANTIC), is still working in animation-land, having written Nora Twomey's Cartoon Saloon film MY FATHER'S DRAGON, and INSIDE OUT 2 as well. Perhaps they can get her back, or in typical animation studio fashion... Restart and reinvent the whole thing from the ground up with a different director/team, if they can't get Greno and/or LeFauve back. I'm surprised there's no movement on reviving this one, given what it was promising, and how it had such a big presentation at the 2015 D23 Expo. Its cancellation in fall 2017 came as a real shock...

If not GIGANTIC, then I'd love to see them take a crack at other scrapped features that didn't last past the mid-2010s... Such as KING OF THE ELVES, based on the Phillip K. Dick fantasy tale, that at one point could've been the studio's Christmas 2012 release. Baffling how they couldn't make that story about a bunch of tiny elves who are at war - LORD OF THE RINGS-style - in a massive fantasy world but also live at a modern-day gas station work as a feature film. Or what about that COSMIC 3000 picture that reportedly involved teenaged aliens participating in thrilling space races? Hey, maybe they could take a crack at Terry Pratchett's DISCWORLD again, but this time not opt to adapt one book in the series.

Just a thought...

We shall see, maybe come later this year. We are in Disney's 100th year of existence, so I suppose we shall learn what comes out after WISH from Walt Disney Animation Studios...

UPDATE: JANUARY 20, 2023

Well looky here...

The Walt Disney's Company new and updated release schedule contains the following dates for UNTITLED DISNEY ANIMATION;

11/27/2024

11/26/2025

11/25/2026

One a year, as per usual. Pretty sure this is the landing strip for all the big updates and news set to drop at this year's D23... Monster Mouse, planting the flags.

[boldlyspeedydreamerreturns]

I want to try and develop my Encanto OC, Elio. But I don't really know what to do. Would anyone like to ask some questions about him? Maybe that would jog something?