nobodysuspectsthebutterfly · 3 months ago
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What do you think of the fancasting for younger Tywin Lannister with actor Peter Eggers?
Ah, that's my friend @joannalannister's fancast. I always thought it was spectacular.
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Moodboard of Septimus Weasley.
Face-claims: Peter Eggers and Charles Dance.
Requested by: anon.
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sexymonstersupercreep · 7 months ago
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Most Beautiful People: Peter Eggers
Background: Swedish
Career: actor
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biscuitfromthesea · 2 years ago
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" A show?"
"A scientific demonstration."
"As you wish, Sir."
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geekynerfherder · 1 year ago
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'The VVitch' by Peter Diamond.
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Away We Go (2009, Sam Mendes)
29/02/2024
Away We Go is a 2009 film directed by Sam Mendes, written by the well-known author duo Dave Eggers-Vendela Vida, in their first film experience.
It is the story of two thirty-year-olds, played by John Krasinski and Maya Rudolph, who, faced with the imminent, unplanned arrival of their first child, undertake a journey across the United States, and beyond, in search of the ideal place where put down roots and raise the family.
The film's soundtrack is cured by British singer-songwriter Alexi Murdoch and consists largely of his songs.
Presented at the Edinburgh International Film Festival, the film was distributed in US cinemas by Focus Features starting from 5 June 2009, in the first weekend in limited form in 4 theatres.
Positive reviews include those from Roger Ebert (Chicago Sun-Times), David Denby (The New Yorker) and Peter Travers (Rolling Stone). Among the negatives are those of Richard Corliss (Time), A. O. Scott (The New York Times), Dennis Harvey (Variety) and Ann Hornaday (The Washington Post).
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dalekofchaos · 8 months ago
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fuckyeahdavideggersii · 1 month ago
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omg, two davids for the mindfucking price of one
youtube
king actor doing king actor shit
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ilovetheater-nl · 6 months ago
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Succesvolle Première van 'Assisen Live - De Kotmoord'
FOTO:©Backstage productiesDe langverwachte première van ‘Assisen Live – De Kotmoord’ heeft een opzienbarend debuut gemaakt in Theater Elckerlyc te Antwerpen. Het publiek werd meegevoerd in een wereld van intriges, recht en onthullingen tijdens deze interactieve theaterbelevenis, geregisseerd door Filip Peeters.De topcast, bestaande uit een indrukwekkende line-up van bekende namen, leverde een…
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maverick-werewolf · 1 day ago
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Daily Werewolf Thoughts - Days 24-30 (includes HUGE posts on berserkers and Peter Stubbe)
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img: illustration for my upcoming huge novel release (Knightfall), by Saber-Scorpion
Day 24- So I just talked about how much I enjoy the werewolf concealing the curse, something that may or may not always go with that is having no memory of what the monster form did-- or, sometimes, not even remembering turning into a werewolf at all. It is, again, another fun layer of drama, character exploration, and meaning that comes with the wonderfully robust tale of the werewolf.
I really cannot emphasize enough how much I love this kind of stuff. Everything about it. But on the subject at hand, the scene of a man (or woman, as the case may be, since we do have those too) awakens in the morning and finds just a few things off - or has literal blood on his hands. Has no memory of what happened. Does he know? Does he figure it out? Or is he left in total confusion? How do things play out from there? What -did- he do last night, and how bad was it? Will anyone else find out? There are so many endless possibilities. It's something else that I, obviously, love exploring in my own fiction*.
I always address whether or not such a concept existed in folklore, and in this case, the answer is pretty much no. This is yet another thing we can thank The Wolf Man (1941) and writer Curt Siodmak for. So, thank you yet again, Curt Siodmak, for adding another layer onto such a fantastically tragic story.
*: shameless plug for my book coming later this year, Wulfgard: Knightfall, so please stay tuned and check that out when it releases; I am currently dying during the editing process and every copy contains a small shard of my soul
Under the cut are some BIG POSTS on berserkers (and how they are not "bear warriors") as well as Peter Stubbe (who was not a werewolf), other thoughts, me freaking out about how cool werewolves are, and more!
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Day 25- A hill I have chosen to die upon is that portrayals of berserkers as "bear warriors" are wholly inaccurate, preposterous, and baseless. This is considered a sweeping statement in the academic community (because they are the ones who first proposed this utter nonsense, in search of a "new argument" for "the conversation" in the 19th century; before this, everyone accepted that "berserker" means "bare of shirt"), and yet, when I made it, I received support and even a stamp of approval from a lifelong Old Norse and Icelandic scholar and professor. Let me tell you why…
Snorri Sturluson, the historian to whom we owe knowing about almost any of these legends and the preservation or creation of many Sagas and the Eddas, who lived from 1179-1241 AD, has always been the foremost source for all things Norse. It is he to whom we owe a great deal of, and likely even the majority of, our knowledge of Norse mythology. And yet, today, scholars love to disrespect Snorri and claim he was wrong about nearly everything. It's absolutely absurd.
Snorri said that "berserker" means "bare of shirt," and I've heard many native Icelandic speakers reinforce this theory and other scholars agreeing as well. It refers to throwing off their armor in battle upon entering their rages, or perhaps even fighting shirtless; there are arguments about that too. Many scholars still refute this idea of berserkers being bear warriors (there are numerous examples, such as Anatoly Liberman), and some don't even bother acknowledging it; you can find some things today that, thankfully, don't touch this bear concept at all, especially outside of America. Huge props to Robert Eggers for his incredible research for The Northman film and an execution that resulted in the coolest portrayals of a berserker that we have ever gotten, and that feels accurate to the sagas. Modern scholars like to say that Snorri was very wrong and that "berserker" means "bear shirt." They refute Snorri for saying that his theory has been abandoned because of "lack of supporting evidence," which is so rich because they have no supporting evidence for their "bear warrior" etymology, either.
Long story short, I will not stand for Snorri disrespect. We love Snorri in this house.
Now, on to berserkers themselves. Why do I insist, then, that they are wolf warriors? We have many examples of what are sometimes called the ulfheðnir, or "wolf-shirts." Note that you recognize the Old Norse form of wolf in "ulf," same as you generally would recognize "bjarn" or "bjorn" for bear*. An ancient Roman account describes them thusly: “Their eyes glared as though a flame burned in their sockets, they ground their teeth, and frothed at the mouth; they gnawed at their shield rims, and are said to have sometimes bitten them through, and as they rushed into conflict they … howled as wolves.”
Berserkers were described variably as "strong as bulls," "howled like wolves," and other animal comparisons. But, more often than not, we see berserkers associated with wolves across the sagas. They were said to enter mad rages, their berserk state, during which they endured impossible amounts of pain, were unharmed by fire or iron, and performed superhuman feats of strength and bravery. They were sometimes called hamrammr, or shape-strong, and it is implied they are stronger than an ordinary man no matter what shape they currently took. Some were associated with shapechanging, such as Kveldulf the evening-wolf, a highly intelligent man sought for his wisdom - but, around dusk each day, "he became so savage that few dared exchange a word with him … People said that he was much give nto changing form, so he was called the evening-wolf, kveldúlfr." Kveldulf appears in multiple sources, such as Egils saga and more. Other ulfhednir appear in the Vatnsdæla Saga and the Holmverja Saga, among others, with several being cited as capable of changing forms and "wolf-shaped."
Also, not only is there a suspicious lack of named bears in Norse myth as a whole (though we have many named wolves, a named boar, named goats, ravens, and even named roosters, squirrels, and more) to claim they are so important to their culture historically, but again, we are notably lacking in direct evidence of this "bear warrior" concept. Some love to cite Bodvar Bjarki from Hrólfs saga kraka - a warrior who could assume the shape of a bear - but he specifically was NOT a berserker, and in fact he frequently came in contention with berserkers and talked down about them.
As you can see, I could go on about this for quite some time, and I plan to at some point. There's a lot more to say and discuss, but I'll leave it off here for now.
More on this in a huge article sometime next year, probably. Way too much work left in this year. I do have this one, however, that I wrote many years ago now and have expanded upon some since, though it requires far more expansion and specificity (some of which I did here instead): https://maverickwerewolf.com/werewolf-facts/berserkers/
And this is also discussed in my book, The Werewolf: Past and Future, which I will always shamelessly plug as a great way to get started with the werewolf legends throughout the march of history: https://www.amazon.com/dp/1949227022 And also my own edition of Sabine Baring-Gould's fantastic work from the 1800s about werewolves, includes footnotes, translations, etc by yours truly; he discusses the sagas quite a bit: https://www.amazon.com/Book-Werewolves-Superstition-Annotated-Translated-ebook/dp/B0CK4YY16Z
*: why aren't they called "bjarnskins," then? Why would berserker begin with a Proto-Germanic "bero" for bear when "berr" is Old Norse FOR BARE, like "bare of shirt"?? A form of "berr" meaning "bear" did not exist in Old Norse. Why does anyone even believe this bear warrior berserker crap?
image: helmet plate from the Vendel period (540–790 AD) depicting Odin and a wolf-cowled or wolf-headed berserker
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Day 26- A huge pet peeve of mine is werewolves that turn utterly brainless when they assume their monster form. You see this a lot in media, like a werewolf that becomes so angry after transforming that it will bash its brains out against a wall trying to reach a person. I'm all for uncontrollable and furious werewolves, but they shouldn't just be idiots. How do they even still feel threatening when they're so earthshatteringly stupid?
Creating a sense of threat with a werewolf is incredibly important to conveying a good, serious, and earnest werewolf story. If the werewolf is that braindead, it will never feel like a real threat. In folklore, as well, werewolves retain their human intelligence (whether they are capable of speech or neutral/good-aligned or not), and this is very much a mark of what makes them so dangerous and terrifying. I can't think of any justification for making the primary monster and/or primary threat in your story so dumb that it will accidentally kill itself against a solid object or run headlong into a mirror or not understand doors and trees. It's plain old bad storytelling.
image: William Corvinus from Underworld again - I know that some Underworld comic or another suffered from the extremely stupid werewolves trope, because at one point Selene perches on a building and watches the "lycans" kill themselves bashing against a wall trying to reach her. Just typical Underworld things.
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Day 27- Alright, remember how I'd die on that berserker hill? This is my other hill. "The Werewolf of Bedburg," Peter Stubbe or Peter Stump or Stumpp, is considered one of the most famous werewolf legends. Problem is, it is not a werewolf legend. Let me tell you why.
Firstly, let's begin with the legend itself. I will be pulling quotes from The Werewolf in Lore and Legend by Montague Summers. It's a good werewolf book, but Summers sometimes contradicts himself in his ramblings and sources, so you have to study it carefully. Overall, though, it's a very good work and very good for cross-referencing. His account of Peter Stubbe is one of the best elements of the book.
Peter Stubbe was a man who used satanic magic ("Damnable desire of magick … and sorcery") to assume the shape of a wolf and commit terrible crimes. The works specifically say that the devil may grant followers "the shape of some beast" (it was not always a wolf; witches took the forms of many, many animals) inorder to "live without dread or danger of life, and unknown to be the executor of any bloody enterprise." Stubbe asks for the shape of "some beast," not a "wolf" specifically. However, the devil gives him a girdle that allows him to "transform into the likeness of a greedy devouring wolf, strong and mighty, with eyes great and large, which in the night sparkled like unto brands of fire," among other description. Should he remove the girdle, he would become human once more.
This separates him from other werewolf accounts and tales of his era in that he asks for no specific animal and the court ruled him a "sorcerer," not a "werewolf," unlike - for example - Jean Grenier, whose tragic tale took place in 1603. Stubbe would "ravish" children and women and devour them, as well, something never before associated with werewolves. And not since, either, until these wonderful modern scholars latched onto Stubbe and decided his trial was a werewolf trial, even though it wasn't. So we have even more quotes about how he committed "devilish sorcerie [sorcery]," no reference to lycanthropy or werewolfery or anything else as such, while he went about performing atrocities like killing, devouring, and violating women and children, including Stubbe's own sister. And no matter how many times he is referred to as a "wolf," he is never called a "werewolf" even once.
Tales of "witch-creatures" exist that are apart from werewolf legends and other sorts of monster legends due to the fact that witches and/or sorcerers were very unique and important entities during their time. Stubbe's account concludes,
"Thus Gentle Reader haue I set down the true discourse of this wicked man Stub Peeter, which I desire to be a warning to all Sorcerers and Witches, which vnlawfully followe their owne diuelish imagination to the vtter ruine and destruction of their soules eternally, from which wicked and damnable practice, I beseech God keepe all good men, and from the crueltye of their wicked hartes. Amen." Note: sorcerers and witches again. No mention of werewolves.
Stubbe was executed in Bedburg, near Cologne, on the 31 of March 1590. He has a pamphlet from the time period, as his case and execution created quite the stir…
"A true Discourse. Declaring the damnable life and death of one Stubbe Peeter, a most wicked Sorcerer, who in the likenes of a Woolfe, committed many murders, continuing this diuelish [devilish] practise 25. yeeres [years], killing and de- uouring [devouring] Men, Woomen, and Children. Who for the same fact was ta- ken and executed on the 31. of October last past in the Towne of Bedbur neer the Cittie of Collin in Germany."
Note that he is referred to as a "Sorcerer," and again, another discourse about the case from the period refers to him as "Stubbe, Peeter, being a most / wicked Sorcerer." Works from Stubbe's time period and covering Stubbe's trial never once refer to him as a "werewolf" or reference "werewolfery" (a term seeing relatively frequent use in this era). He is repeatedly referred to as a sorcerer and using sorcery, and he is even once called a "hellhound," but he is never directly called a "werewolf."
Here's where the issues start. Peter Stubbe lived during a time period when people were, in fact, still using the term "werewolf" (and/or "loup garou" and other terms) in a fashion almost as categorical as what we use today. This is in opposition to older time periods that didn't collect and classify legends and monsters and declare they're all madmen and rationalize them in the face of scientific thought. This was entering the Early Modern Period, when werewolves became seen as madmen and belief in them justified via diseases and insanity. Many other werewolf trials occurred before, after, and during the time of Peter Stubbe, and they were specifically called "werewolves" in their trials. For example, a decree issued by the parliament of Franche-Comte in 1573 - years before Stubbe's trial - specifically orders that people "chase and pursue the said were-wolf in every place where they may find or seize him" (after properly arming themselves with "pikes, halberds, arquebuses, and sticks" of course).
Peter Stubbe, however, was not. He was only ever referred to as a "sorcerer." If you've read the Malleus Maleficarum and other, similar works of these eras, you would know how important classification of such things was during the time period, and why it is important to recognize the differences among witches, "witch-animals," werewolves, and other beings ranged from cursed to satanic to insane to everything else. His case also lacks integral elements to werewolf trials of the time period, such as the lack of self-control and declared insanity (remember, werewolves were associated with madmen at this time).
Scholars only started referring to Peter Stubbe as this "Werewolf of Bedburg" in later time periods. Calling him a werewolf at all is very much a machination of modern scholarship and academia and a distortion of werewolf legends that has in turn led to some misconceptions about werewolf legends as a whole.
And if you think I'm just being pedantic, I'm a scholar and historian. It's what I do. Preserving things as they were actually believed in during their own time periods is important. Calling this a werewolf legend and/or account is simply inaccurate, and it never should have happened. Peter Stubbe's trial was not a werewolf trial. It was a sorcerer trial.
There is a very large Werewolf Fact for this. I go into laborious detail here, with many quotes, citations, and further discussion of this entire concept and its lasting importance: https://maverickwerewolf.com/werewolf-of-bedburg-peter-stubbe/
This is, again, also something I discuss in my work, The Werewolf: Past and Future: https://www.amazon.com/dp/1949227022
img: woodcut depicting "The Life and Death of Peter Stubbe," 1589
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Day 28- I have all too often seen assertions that "werewolves don't have tails," as if there are facts to be had about a mythical creature at all and as if this is a certainty. If we could theoretically have any facts about werewolves (as is my nonfiction branding), we would turn to folklore - which explicitly states that yes, werewolves have tails. What's more, having a tail is what separates a werewolf from other mythical beasts.
This begins not only in the fact that werewolves in folklore are often described as being wolves, often very big ones, without mention of lacking a tail, but more specifically in that the Early Modern Period, a differentiating factor between werewolves and witch-creatures was a tail.
In 1590, Henry Boguet in his treatise "Of the Metamorphosis of Men into Beasts" says specifically that the difference between a werewolf and a witch that has turned into a wolf is that witch-animals have "no tails." This is in fact true of every witch animal, apparently. And yes, in this time period, again, they did in fact differentiate between a werewolf and a witch who turned into a wolf. This specificity persists in the Malleus Maleficarum, specifically question X of part I, "Whether Witches can by some Glamour Change Men into Beasts," which states, "the devil can deceive the human fancy so that a man really seems to be an animal." This is a deception, not a transformation, as we generally get with a werewolf. Furthermore, "no creature can be made by the power of the devil, this is manifestly true if Made is understood to mean Created. But if the word Made is taken to refer to natural production, it is certain that devils can make some imperfect creatures."
Bear in mind that there were some works in this time period that considered werewolves to be related to witchcraft but not entirely equal to it. Generally, a werewolf becomes a werewolf and is out of his or her own control, unlike a witch, who undertakes such practices willingly. The idea of witches being "imperfect" animals persists in many works of this time.
Not saying this to rip on the tailless werewolves of popular culture, though. Just providing context. I actually fully understand not wanting your werewolf to have a tail. While I don't think having a tail inherently makes a werewolf "cute," and I personally will always battle tooth and nail against that, I also understand that having a tail could insinuate "cuteness" to certain modern audiences in particular. Perceptions change over time, and this is definitely one that has. I also realize that tails are frequently left off of film werewolves because they're very hard to create in a convincing way, and then regardless of anything someone might be capable of creating today, the design concept kind of stuck in film.
I also often hear excuses that "people will be attracted to the monster" (to put it in more socially acceptable terms, but I'm sure you know what I mean) and that's supposedly a justification for making werewolves look like naked mole rats with scabies and mule faces and bulging eyes and arms longer than their legs, but honestly, someone's going to want to screw even that thing. And tail or no tail, regardless of design, this definitely still applies. I don't think such a discussion has ever been held in the boardroom of a major film project (no one cares), but I've seen it discussed on the internet, and I don't think those internet people should let other internet people dictate monster design or perception to them.
I also still think a tail as a sign of inhumanity can still hold frightening power, as long as it is presented properly. A tail is something humans do not have - only beasts have tails. To grow a tail is a sign that one has truly become something other than human - a werewolf turning into a monster.
I will continue the fight. My terrifying werewolves have tails… mostly just because I think it looks better as a design choice instead of a tailless human rear like a donkey without a pinned tail, as pictured here on The Howling werewolf.
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Day 29- It's almost Halloween! Honestly, my very favorite kind of werewolf could essentially be summarized as "the Halloween werewolf," which is of course very inspired by The Wolf Man (1941). I love the spookiness, the classic horror, even the way they're generally lit. I love the dead black trees, haunting graveyards, the full moon, the tattered clothing, the bite that can make you share in its curse… and the promise that behind that terrible wolf-beast is an innocent man.
Even just seeing werewolves like the classic Halloween kind inspire me to an incredible degree. They fill me with joy and set my imagination aflame. They always have. I love their motifs and how they're portrayed, everything from scary old horror movie werewolves to spooky Halloween setups with fog machines to silly cartoon Halloween werewolves. I've adored them since day one, and really, the werewolves that come out at Halloween are the ones that made me fall in love with the concept and legend of the werewolf.
I've always used these classic motifs to inspire my own fiction (and Halloween monsters and atmosphere is like my entire thing) because they do make me so happy and give me so many thoughts and ideas and put so many stories into my head. Did you know, too, that the idea of a werewolf stalking a graveyard (as Halloween werewolves often do) also comes from folklore? Werewolves were often associated with sites of the dead - like many other wolf entities - and could be found in graveyards digging up graves and devouring the corpses, in many stories.
So, although I have so many thoughts and rants and raves and research and countless stories to write and folklore to preserve, I'll always be inspired the most by the simplest werewolf concept: the ones that come out at Halloween.
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Day 30- This one might seem like it's coming out of the left field, but I overthink every single aspect of werewolves and also their designs, so naturally I have thought long and hard about what ears look coolest on a werewolf. I've come to the conclusion that a werewolf needs big, scary ears. They're just badass and really emphasize the wolf aspect.
No, I'm not talking about cute ones or the silly ones or the big lynx-bunny ones (sorry, The Howling, but you went seriously overboard). I'm talking about horror werewolf style emphatic beast ears. If your werewolf has short, squat, or rounded ears, it ends up looking more like a bear. I'm talking much more like Anubis. Man, those werewolves look so awesome. But, obviously, the usual wolf ears are great, too. I also have gained a considerable fondness for the Underworld like William Corvinus style side-of-the-head ears, as long as they're sufficiently long and pointed.
But these werewolves that have really small and de-emphasized, rounded ears? Yeah, they mostly just look like bears or something. Ears are so important. Even on wolf-men, I think bigger, pointed ears help emphasize the inhumanity and the wolfishness. It makes them scarier.
img: some werewolf from a thing called Horror Legends? I actually have no idea what it is, but I've seen this image going around and I just really love this design
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ghostflowerdreams · 3 days ago
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Witch Films
It’s October! The month in which I watch even more horror movies than usual. Each year I tend to have a theme to help narrow down what to watch. So far I’ve done Zombie Films, Werewolf Films, Vampire Films, Slasher Films, Ghost Films and Lovecraftian Horror. This year's theme will focus on witches, though I'm surprised I haven't already done this.
I think this is my shortest list yet. I expected to find more films featuring a witch or witches, but it seems there aren’t as many as I thought. With fewer actual horror titles available, I had to include some lighter options to add a bit of length to the list.
Hocus Pocus (1993) – an American fantasy comedy film directed by Kenny Ortega from a screenplay by Mick Garris and Neil Cuthbert, and a story by David Kirschner and Garris. The film stars Omri Katz, Thora Birch, Vinessa Shaw, Bette Midler, Sarah Jessica Parker, Kathy Najimy and Sean Murray.
After moving to Salem, Massachusetts, teenager Max Dennison explores an abandoned house with his sister, Dani, and their new friend, Allison. Skeptical of a spooky legend Allison shares, Max unwittingly brings back a trio of wicked witches on Halloween night. Now, with the help of a mysterious cat, the kids must seize the witches' spellbook to prevent them from achieving immortality and unleashing chaos on the town.
Halloweentown (1998) – an American fantasy comedy film directed by Duwayne Dunham. The first installment in Halloweentown series, it stars Debbie Reynolds, Kimberly J. Brown, Joey Zimmerman, and Judith Hoag.
The story follows 13-year-old Marnie Piper, who uncovers her family's magical heritage after following her grandmother to a hidden world where it’s Halloween every day. In this magical place, Marnie encounters witches, vampires and monsters who live peacefully, separate from the mortal world. But as she learns more about her own powers, Marnie faces a choice: embrace her destiny and protect Halloweentown from a looming threat, or risk losing her connection to this magical world forever.
Kiki's Delivery Service (1989) – a Japanese animated fantasy film written, produced, and directed by Hayao Miyazaki, based on the 1985 novel of the same name by Eiko Kadono.
At thirteen, young witch Kiki sets off, as tradition dictates, to find her place in the world and hone her skills. With her loyal cat, Jiji, she settles in a seaside town and starts a delivery service to help the townsfolk. But as Kiki navigates her new life, she encounters challenges that test her independence, resilience, and the magic within herself.
The Craft (1996) – an American teen supernatural horror film directed by Andrew Fleming from a screenplay by Peter Filardi and Fleming and a story by Filardi. The film stars Robin Tunney, Fairuza Balk, Neve Campbell, and Rachel True.
When new girl Sarah transfers to a Los Angeles high school, she’s drawn to a group of outcast girls rumored to practice witchcraft. Together, they form a powerful coven, casting spells to transform their lives. But as their magic intensifies, so does its darker side, and Sarah soon learns that power always comes at a price.
The Witch (2015) – An period horror film written and directed by Robert Eggers in his feature directorial debut. It stars Anya Taylor-Joy in her feature film debut, alongside Ralph Ineson, Kate Dickie, Harvey Scrimshaw, Ellie Grainger, and Lucas Dawson.
Set in 1630s New England, a devout Puritan family finds themselves exiled from their community, struggling to survive in isolation near a foreboding forest. As their crops fail and livestock perish, unsettling events begin to plague them, fostering paranoia and mistrust. When their youngest child goes missing, the family’s faith is put to the ultimate test, and dark secrets come to light, suggesting that something sinister may be lurking in the woods.
Sleepy Hollow (1999) – a gothic supernatural horror film directed by Tim Burton. It is a film adaptation loosely based on Washington Irving's 1820 short story "The Legend of Sleepy Hollow", and stars Johnny Depp and Christina Ricci, with Miranda Richardson, Michael Gambon, Casper Van Dien, Christopher Lee, and Jeffrey Jones in supporting roles.
New York detective Ichabod Crane is sent to the small, eerie village of Sleepy Hollow to investigate a series of brutal decapitations. He’s a skeptic of the supernatural, but the villagers believe the killer is the Headless Horseman, a vengeful spirit from local legend. As Crane delves deeper, he uncovers dark secrets, mysterious rituals, and a sinister plot that threatens both his life and his beliefs. With each discovery, he’s forced to question what’s real—and what might be lurking beyond reason.
The Witches (1990) – a dark fantasy film directed by Nicolas Roeg from a screenplay by Allan Scott, based on the 1983 novel of the same name by Roald Dahl. The film stars Anjelica Huston and Mai Zetterling.
There's also another adaptation of the novel, The Witches (also known as Roald Dahl's The Witches), a 2020 dark fantasy comedy horror film co-produced and directed by Robert Zemeckis, who co-wrote the screenplay with Kenya Barris and Guillermo del Toro, based on the novel. The film stars Anne Hathaway, Octavia Spencer, Stanley Tucci, Kristin Chenoweth, and Jahzir Bruno.
The story follows a young boy who encounters a group of witches led by the Grand High Witch, who despise children and plot to eliminate them using a magical potion that transforms them into mice. When the boy and his grandmother stumble upon their nefarious plan, they must outsmart the witches and find a way to stop them before it's too late.
The Blair Witch Project (1999) – an American found footage supernatural psychological horror film written, directed, and edited by Daniel Myrick and Eduardo Sánchez.
Three student filmmakers venture into the woods near Burkittsville, Maryland, to create a documentary, about the terrifying legend of the Blair Witch. What begins as a simple project quickly turns harrowing as strange, unsettling events draw them deeper into the forest—and into a nightmare from which they can’t escape.
You Won't Be Alone (2022) – a Macedonian dark fantasy horror drama film written and directed by Goran Stolevski. It is an international co-production of Australia, the United Kingdom, Macedonia and Serbia in the Macedonian language, and marks Stolevski's feature film directorial debut. It stars Sara Klimoska, Alice Englert, Carloto Cotta, and Noomi Rapace as some of Nevena's forms, alongside Anamaria Marinca as Maria.
Set in 19th-century Macedonia, the story revolves around a young mute girl named Nevena, who is raised in isolation by her mother, Maria, a witch. After being transformed into a shapeshifting creature, Nevena embarks on a journey to explore the world through the experiences of others, discovering the joys and sorrows of humanity.
Suspiria (1977) – an Italian epic supernatural horror film directed by Dario Argento, who co-wrote the screenplay with Daria Nicolodi, partially based on Thomas De Quincey's 1845 essay Suspiria de Profundis. It stars Jessica Harper, Stefania Casini, Flavio Bucci, Miguel Bosé, Alida Valli, Udo Kier, and Joan Bennett, in her final film role.
There's also Suspiria (2018) film, directed by Luca Guadagnino and written by David Kajganich, draws inspiration from Dario Argento’s iconic 1977 Italian film of the same name. It was described by Guadagnino as an "homage" to the 1977 film rather than a direct remake, reimagining the story in Berlin in 1977. It stars Dakota Johnson, Tilda Swinton, Mia Goth, and Chloë Grace Moretz, the film also includes a cameo by Jessica Harper, the lead actress from the original Suspiria.
The story follows a young American dancer named Suzy Bannion who arrives at a prestigious ballet academy in Freiburg, Germany, only to discover that the school harbors dark secrets. As unsettling events and strange occurrences disturb her surroundings, Suzy becomes entangled in a sinister mystery lurking within the academy’s walls.
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bunsofhoney · 2 years ago
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What do I love about Spideypool?
I love how their characters - one anxious, analytical, out of touch with his feelings, the other deranged but in touch with his emotions and soft side in unexpected ways - play off each other, and the capacity they have to heal and support one-another.
I love good identity shenanigans where Peter thinks the world is about to come crashing down and Wade could care less and you know it but it still seems like all the stakes are riding on it. Dramatic irony, yum.
I love the opportunity to explore identity with an openly pansexual and a closeted bisexual character. (Honestly, Marvel does Wade dirty by just making his sexuality a running joke and having all of his relationships be with women. Wtf, Marvel.)
I love the physicality of both of them, their fighting skill and contrasting/complementary styles as well as the exploration of the relationship between bodily injury/pain/discomfort and mental/emotional pain.
I love the capacity this ship has for puns, wordplay, and incredibly witty banter. I also love mildly unhinged stream-of-conciousness writing (ala the likes of Tom Robbins and Dave Eggers.) Deadpool's inner monologue is excellent in that regard. I'm constantly striving to improve my Deadpool voice.
But, most importantly, this is the crucial element: they sexy boys who fight.
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moominvalley-state-of-mind · 8 months ago
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in honor of the wild robot movie coming out this fall,
couldn''t put more, but some honerable mentions:
wind in the willows
watership down
honestly, theres probably more lmao :P
!!PLEASE RB!!
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intoxicatingimmediacy · 23 days ago
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The Black List & ‘Blindspotting’ Creator Rafael Casal Unveil The Bay List
The Black List won’t be releasing its 20th anniversary tally until later this year, but the Franklin Leonard-founded platform is rolling into the Bay Area with a new collaboration and a deep bench of partners. Focusing on the talent-rich San Francisco and Oakland region, the brand new Bay List will announce 10 inaugural projects next summer. If you are part of the 415, 510 or 628 area codes, among others, you have until April 8, 2025 to submit an eligible project. Find out more info about Leonard and Blindspotting creator/showrunner Rafael Casal‘s brainchild here. “I’ve been a longtime admirer of the arts community in the Bay generally so it was a no-brainer to jump in when Rafa reached out about being a part of it directly,” Leonard told Deadline on Tuesday. “Little did I appreciate just how big the Bay does things. It’s a real honor to be partnered up with folks this committed to community and a community dedicated to helping support and find great writing within it. Everyone should pay attention to the scripts on The Bay List when it comes out.” “When I was growing up in the Bay, there was no ladder to climb,” adds Loki star Casal. “It was a seemingly impossible dream.” “Now, the Bay has an Avengers-like count of successful hometown heroes who want to help let the ladder down for the next wave of storytellers,” the Def Poetry alum notes. “The Bay List is my hope to assemble those superheroes on the home turf and put a spotlight on the best writing emerging from the Bay. The Black List has already built the model, we are just giving it the Bay treatment.” To that end, the “Bay treatment,’ the very first Bay List will receive comes courtesy of some pretty big local heavy hitters. Among those participating include Golden State Warriors star Stephen Curry and Erick Peyton’s Unanimous Media; Tom Hanks and Gary Goetzman’s Playtone; Hasan Minhaj and Prashanth Venkataramanujam’s 186K Films; Benjamin Bratt, Peter Bratt and Alpita Patel’s 5 Stick Films; and Boots Riley, Laura Wagner, George Rush and others’ Cinemama. Additional participants include Jingletown Films (Cheryl Dunye and Karina Hodoyan), Lucasfilm (LeAndre Thomas), Who Knows Best Productions (W. Kamau Bell and Melissa Hudson Bell), Daveed Diggs (Blindspotting, Hamilton), Life in Motion Productions (Misty Copeland), 826 Valencia (Dave Eggers), Peter Nicks (Stephen Curry: Underrated, Homeroom), Joe Talbot (The Last Black Man in San Francisco), Ryan Fleck and Anna Boden (Captain Marvel, Freaky Tales), BAVC Mediaand Dolby Laboratories.
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filmaticbby · 2 years ago
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Aries: Tarantino, F. F. Coppola, Andrea Arnold, Eric Rohmer, Edgar Wright, Ruben Östlund, Josh Safdie, David Lean, Andrei Tarkovsky, Michael Haneke, Martin McDonagh
Taurus: Wes Anderson, Orson Welles, Sofia Coppola, Lars von Trier, Terry Zwigoff, George Lucas, Robert Zemeckis, John Waters, Frank Capra
Gemini: Fassbinder, Hideaki Anno, Makhmalbaf, Agnès Varda, Alex Garland, Clint Eastwood, Yorgos Lanthimos, Aaron Sorkin, Ken Loach, Alexander Sokurov, Giuseppe Tornatore
Cancer: Abbas Kiarostami, Wong Kar-wai, P. T. Anderson, Mike White, Ari Aster, Ingmar Bergman, Krzysztof Kieślowski, Paul Verhoeven, Robert Eggers, Béla Tarr, Mel Brooks, Ken Russell, Sidney Lumet, Kinji Fukasaku
Leo: Alfred Hitchcock, Greta Gerwig, Alain Robbe-grillet, Kubrick, Wes Craven, Taika Waititi, Luca Guadagnino, Christopher Nolan, Polanski, Sam Mendes, Richard Linklater, Nicolas Roeg, James Cameron, Pablo Larraín, M. Night Shyamalan, Iñárritu, Gus Van Sant, Peter Weir, Wim Wenders, Maurice Pialat
Virgo: Tom Ford, Joe Wright, Paul Feig, Dario Argento, David Fincher, Brian De Palma, Baz Luhrmann, Tim Burton, Friedkin, Takashe Miike, Noah Baumbach, Werner Herzog, Elia Kazan, E. Coen
Libra: Julie Dash, Almodóvar, Jacques Tati, Ang Lee, Michelangelo Antonioni, Ti West, Walerian Borowczyk, Nicolas Winding Refn, Satoshi Kon, Kenneth Lonergan, Michael Powell, Jacques Tati, Steve McQueen, Denis Villeneuve
Scorpio: Mike Nichols, Barry Jenkins, Charlie Kaufman, Céline Sciamma, Tsai Ming-liang, Jean Rollin, Scorsese, Louis Malle, Luchino Visconti, François Ozon, Julia Ducournau
Sagittarius: Sion Sono, Cassavetes, Raj Kapoor, Steven Spielberg, Eliza Hittman, Terrence Malick, Ozu, Alfonso Cuarón, Gregg Araki, Larry Charles, Judd Apatow, Kathryn Bigelow, Lenny Abrahamson, J. Coen, Jean Luc Godard, Diane Kurys, Ridley Scott, Lynne Ramsay, Woody Allen, Fritz Lang
Capricorn: Larry Clark, David Lynch, Harmony Korine, Damien Chazelle, David Lowery, Mary Harron, Sergio Leone, Todd Haynes, Pedro Costa, Gaspar, Noe, Fellini, Joseph Losey, Miyazaki, John Carpenter, Steven Soderbergh, Michael Curtiz, John Singleton, Vertov
Aquarius: Jim Jarmusch, John Hughes, Darren Aronofsky, Jodorowski, Michael Mann, Derek Cianfrance, Alex Payne, Truffau, Eisenstein, Tone Hooper
Pisces: Pasolini, Sean Baker, Paul Schrader, Bernardo Bertolucci, Benny Safdie, Jacques Rivette, Bunuel, Luc Besson, David Cronenberg, Spike Lee, Rob Reiner, Mike Mills, Sebastián Lelio, Jordan Peele, Ron Howard, Robert Altman
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leonardcohenofficial · 2 years ago
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i watched 120 new-to-me films this year; here are the posters from a few of my favorites in no particular order!!
faults (riley stearns, 2014) out of the blue (dennis hopper, 1980) wake in fright (ted kotcheff, 1971) entergalactic (fletcher moules, 2022) histoires d'amérique: food, family and philosophy (chantal akerman, 1989) the woman king (gina prince-bythewood, 2022) waking life (richard linklater, 2001) on the count of three (jerrod carmichael, 2021)  thank you and good night (jan oxenberg, 1991)
i’ll tag @lesbiancolumbo / @draftdodgerag / @localpubliclibrary / @calicoskiesacoustic / @jerrylandis / @columbosunday / @harrierdoobie  / @sightofsea and anyone else who’d like to do this!! 🌟
entire watchlist from 2022 is below the cut:
the world to come (mona fastvold, 2020)
nancy (christina choe, 2018)
la bouche de jean-pierre (lucile hadžihalilović, 1996)
run (aneesh chaganty, 2020)
the mosquito coast (peter weir, 1986)
mass (fran kanz, 2021) 
a field in england (ben wheatley, 2014) 
angels wear white (vivian qu, 2017)
a cape cod christmas (john stimpson, 2021) 
shook (jennifer harrington, 2021)
outing riley (pete jones, 2004)
love & mercy (bill pohlad, 2014) 
small engine repair (john pollono, 2021) 
the fallout (megan park, 2021) 
clemency (chinonye chukwu, 2019)
red elvis (thomas latter, 2022) 
calendar girls (nigel cole, 2003) 
the little hours (jeff baena, 2017)
out of the blue (dennis hopper, 1980) 
aya of yop city (marguerite abouet and clement oubrerie, 2013) 
fresh (mimi cave, 2022)
jesus camp (rachel grady, 2006) 
bamboozled (spike lee, 2000)
master (mariama diallo, 2022)
the world of us (yoon ga-eun, 2016) 
jezebel (numa perrier, 2019)
the cat, the reverend and the slave (alain della negra and kaori kinoshita, 2009)
cohabitation (lauren barker, 2022)
the queen of versailles (lauren greenfield, 2012)
secret ceremony (joseph losey, 1968)
the northman (robert eggers, 2022)
the silent partner (daryl duke, 1978)
in secret (charlie stratton, 2013)
the ground beneath my feet (marie kreutzer, 2019)
the man who haunted himself (basil dearden, 1970)
woodlands dark and days bewitched: a history of folk horror (kier-la janisse, 2021)
the miseducation of cameron post (desiree akhavan, 2018)
roadrunner: a film about anthony bourdain (morgan neville, 2021) 
karen dalton: in my own time (richard peete and robert yapkowitz, 2020) 
fire music (tom surgal, 2018)
histoires d'amérique: food, family and philosophy (chantal akerman, 1989)
fruit of paradise (věra chytilová, 1969)
a different image (alile sharon larkin, 1982)
preparations to be together for an unknown period of time (lili horvát, 2020) 
candyman (nia dacosta, 2021)
fan girl (antoinette jadaone, 2020)
chicago 10 (brett morgen, 2007)
pray away (kristine stolakis, 2021)
mavis! (jessica edwards, 2015)
M (yolande zauberman, 2018)
wake in fright (ted kotcheff, 1971)
thomasine & bushrod (gordon parks, 1974)
desire me (released uncredited; jack conway, george cukor, mervyn le roy, and victor saville, 1947)
faults (riley stearns, 2014)
premature (rashaad ernesto green, 2019) 
mother joan of the angels (jerzy kawalerowicz, 1961) 
the loft (erik van looy, 2014)
the black phone (scott derrickson, 2022) 
no exit (damien power, 2022)
nope (jordan peele, 2022)
paprika (satoshi kon, 2006)
our eternal summer (émilie aussel, 2021)
playground (laura wandel, 2021) 
not okay (quinn shephard, 2022) 
everything everywhere all at once (daniel kwan and daniel scheinert, 2022)
pressure point (hubert cornfield, 1962)
sharp stick (lena dunham, 2022) 
on the count of three (jerrod carmichael, 2021) 
martha marcy may marlene (sean durkin, 2011)
waking life (richard linklater, 2001)
sicaro (denis villeneuve, 2015)
arrival (denis villeneuve, 2016)
this magnificent cake! (emma de swaef and marc james roels, 2018) 
chevalier (athina rachel tsangari, 2015)
young and wild (marialy rivas, 2012)
alice (krystin ver linden, 2022)
shame (steve mcqueen, 2011)
good madam (jenna cato bass, 2022) 
black bear (lawrence michael levine, 2020)
speak no evil (christian tafdrup, 2022)
wet sand (elene naveriani, 2021)
the catholic school (stefano mordini, 2021)
poly styrene: i am a cliché (celeste bell and paul sng, 2021)
the violators (helen walsh, 2015)
the woman king (gina prince-bythewood, 2022)
the killing kind (curtis harrington, 1973)
oleanna (david mamet, 1994)
entergalactic (fletcher moules, 2022)
the more the merrier (george stevens, 1943)
primrose path (gregory la cava, 1940)
watcher (chloe okuno, 2022)
enemy (dennis villenueve, 2013)
darlin' (pollyanna mcintosh, 2019)
sissy (kane senes and hannah barlow, 2022)
till (chinonye chukwu, 2022)
black panther: wakanda forever (ryan coogler, 2022)
the hunt (thomas vinterberg, 2012)
the other side of the underneath (jane arden, 1972)
barbarian (zach cregger, 2022) 
the intervention (clea duvall, 2016)
sorry to bother you (boots riley, 2018)
the silent twins (agnieszka smoczyńska, 2022)
tahara (olivia peace, 2020)
arranged (diane crespo and stefan schaefer, 2007)
swimming (luzie loose, 2018)
#like (sarah pirozek, 2019)
babysitter (monia chokri, 2022)
chico and rita (tono errando, fernando trueba, and javier mariscal, 2010)
pleasure (ninja thyberg, 2021)
john the violent (tonia marketaki, 1967)
fat girl (catherine breillat, 2001)
lemon (janicza bravo, 2017)
thank you and good night (jan oxenberg, 1991)
what about me (rachel amodeo, 1993)
the KKK boutique ain’t just rednecks (camille billops and james hatch, 1994)
sun don’t shine (amy seimetz, 2012)
zero fucks given (emmanuel marre and julie lecoustre, 2021)
piggy (carlota pereda, 2022)
ladyworld (amanda kramer, 2018)
wolf's hole (věra chytilová, 1987)
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