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Joewackle J Kusi was finishing his film Nyame Mma when an anti-LGBTQ+ bill was passed, bringing the threat of prosecution for those ‘promoting’ queer stories

Arare Ghanian film featuring a queer main character could not have been released at a worse time for its director and cast. Joewackle J Kusi was making finishing touches to his short film, Nyame Mma (Children of God), and arranging screenings in the capital, Accra, when a piece of legislation passed through Ghana’s parliament, targeting LGBTQ+ content.

According to the bill approved in late February, those involved in the “wilful promotion, sponsorship or support of LGBTQ+ activities” will face jail sentences of up to five years. The legislation, awaiting presidential endorsement before it becomes law, also stipulates a prison sentence of between six months and three years for those found guilty of identifying as LGBTQ+.

Kusi says the bill’s passing forced him to cut the schedule short, to just one private screening for prominent art and film figures. It was shown on 6 March, Ghana’s independence day, at a venue in Accra, but Kusi has no idea if it will ever reach a wider audience.

“I was nervous, I was anxious because of the bill,” Kusi says. “The safety of my cast and crew kept me up at night.

“We considered that it was safer to just have one night. We didn’t go big because it didn’t feel safe to screen a film with a queer character in Ghana around the time this bill was passed.”

Nyame Mma tells the story of Kwamena (played by Kobina Amissah-Sam), who moves away from home to live in Bolgatanga, a town in northern Ghana, because of family friction over his sexuality. After the sudden death of his father, the 30-year-old queer man returns home to Sekondi, in the country’s south-west.

There, he meets his estranged lover, Maroof (played by Papa Osei A Adjei), who, under intense societal pressures, is about to marry a woman. Kwamena is left grieving not just for his father, but also the loss of Maroof.

In a touch of magical realism, Kwamena, in a dream sequence, meets his father in the afterlife. The film also alludes to Sekondi’s annual masquerade – the Ankos festival – with spirits featuring in surreal episodes.

“Some of the stories we are going to tell are going to be heavily impacted by the bill. It’s stifling to creativity,” Kusi says.

“When this film goes out there at the right time I could spend four to five years in prison because I made a film that acknowledges and highlights marginalised and queer stories.”

The bill, he says, is in contrast with Ghana positioning itself as a tourist destination, particularly after its 2019 Year of Return initiative, designed to encourage the diaspora to come back to the country.

Based in Accra, Kusi, 31, studied broadcast journalism and mass communications at the Ghana Institute of Journalism. He worked as a writer and producer at a local television network before losing his job during the pandemic which led him to focus on film-making.

One of his first major productions was a well-received audio drama called Goodbye, Gold Coast, telling the love story of a Ghanian schoolteacher and her European lover on the eve of Ghana’s independence in 1957..

Finding actors willing to play queer characters was a major challenge during Nyame Mma’s production. Kusi choose straight actors because “if I had to cast queer actors then they would have to go in hiding”.

“People read the script and said beautiful things about it but said they can’t act the role,” he says.

“Growing up, every single time I have seen a queer representation in a Ghanian film it’s been in negative light. You’ll see them at the end of the film giving their life to Christ, or they’re probably on the bed dying from some STDs. I felt that shouldn’t be the only real representation, so I tried to create positive characters.”

The existing colonial-era gay sex law in Ghana, which carries a prison sentence of three years, has recently led to arrests. In 2021, a group of 16 women and five men were arrested in southeastern Ghana after attending a meeting for LGBTQ+ advocates, in a case that attracted global attention – however a few months later they were acquitted.

“The [new] bill is targeting and criminalising all aspects of nonconformity,” Kusi says.

Human rights groups have been urging the president, Nana Akufo-Addo, not to sign the bill into law. One, Outright International, says it would “lead to a surge in violence and human rights violations against LGBTQ persons in Ghana”, including “an increased risk of mob attacks, physical and sexual violence, arbitrary arrests, blackmail, online harassment, forced evictions, homelessness, and employment discrimination”.

But Kusi points out it is election year in Ghana, and the season for populist policies.

“The only thing that unites Ghanians, no matter what political party, or religion, is homophobia,” Kusi says.

“Homophobia makes it really hard for people to think clearly. It obstructs your reasoning.”

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...In the upper bowels of the Ambler Theater, Jesse Crooks squats on the ground. Using a combination of muscle memory, meticulous attention to detail and on-the-fly dexterity, he carefully threads a strip of celluloid film through a projector.

“One of the most important things when you’re threading a projector is to make sure it does not touch the ground,” Crooks said.

For over a century, the formula for cinema magic remained the same: a trained projectionist, a 35-millimeter film reel and a projector. But now, thousands of feet of celluloid film strips have been replaced with an electronic file — nearly obliterating the role of a trained projectionist....

Via@[email protected]

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The 1974 suspense thriller smartly predicted the increasing importance of technology and lack of privacy in our lives......"Produced between The Godfather and The Godfather Part II, The Conversation was the only film that Coppola made in that peerless decade (which he ended with Apocalypse Now) that he scripted alone, without drawing from a literary source. As such, it feels uniquely personal, even for a director who famously invests so much of himself, creatively and financially, in his art. Though the film isn’t officially adapted from Michelangelo Antonioni’s 1966 classic Blow-Up, Coppola does for sound what Antonioni did for picture, using one incomplete morsel of information to get at a truth that proves persistently elusive. It’s a potent metaphor for the movies themselves, which make an art of constructing reality from disassembled pieces, but it also speaks to a wider sense of unease that was gripping the culture at the time."

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A breath of fresh air in terms of cinematic innovation, aesthetics, and content. Yorgos Lanthimos directs and co-writes this film with Tony McNamara, providing numerous moments of entertainment while also provoking thought. The film liberates itself entirely from societal constraints, aiming to rediscover the primal sense of wonder inherent in childhood exploration. “It’s a charming attraction to purity, to something that remains untarnished”, reflects Emma Stone on the film. “It’s a desire to reclaim a part of ourselves reminiscent of our past innocence, urging us to rediscover that purity within.”

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Its multiple story threads and attempts to satirise India’s government sit awkwardly with the action, but there’s much to admire in Dev Patel‘s frenzied, ultraviolet genre spectacle....Shot and choreographed with a kineticism that never veers too far into the sleekly balletic, the fight scenes here are often enthralling and genuinely bruising. They retain a necessary sense of life-or-death consequence and of the frenzied amateur using every survival tool at his disposal. When Patel’s character stabs an opponent, he drives the blade in not with his hands but with his teeth. You wince, but at the same time, you want to applaud.

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Here’s your first look at Christian Bale’s suited-up as Frankenstein in actress-turned-filmmaker Maggie Gyllenhaal’s take on the classic monster with The Bride, her forthcoming feature at Warner Bros. 

Gyllenhaal shared the first look of Bale today on her Instagram, alongside an image of Jessie Buckley as “The Bride.” 

Bale and Buckley star in the pic alongside Annette Bening, Penélope Cruz, and Peter Sarsgaard. The film’s logline reads: A lonely Frankenstein travels to 1930s Chicago to seek the aid of Dr. Euphronius in creating a companion for himself. The two reinvigorate a murdered young woman and the Bride is born. She is beyond what either of them intended, igniting a combustible romance, the attention of the police, and a wild and radical social movement.

The movie is being produced by Emma Tillinger Koskoff (Academy Award-nominee The Joker, The Irishman, The Wolf of Wall Street), Gyllenhaal, Talia Kleinhendler (The Lost Daughter), and Osnat Handelsman-Keren (The Lost Daughter). EPs are Courtney Kivowitz (The Lost Daughter) and Carla Raij (Maestro, The Fablemans).

The pic will mark Gyllenhaal’s second directorial effort following The Lost Daughter, her screen adaptation of Elena Ferrante’s novel of the same name, starring Olivia Colman, Dakota Johnson, and Jessie Buckley. The film was nominated for three Oscars: Best Actress (Colman), Best Supporting Actress (Buckley), and Best Adapted Screenplay (Gyllenhaal).

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Cannes Directors’ Fortnight is launching a new People’s Choice audience award at its upcoming edition, running alongside the main festival from May 15-26.

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If you thought silent film was boring think again. There's something incredibly modern about Louise Brooks in this rollercoaster of sex and drama. The great Austrian director George W Pabst made this in Weimar Germany, recruiting Brooks from the US for her breakout role.

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Austin Butler's career is certainly on fire at the moment, between his scene-stealing role in Dune: Part Two and his small screen work on Masters Of The Air. So naturally, he's in demand. The actor has now landed another plum role, starring in Darren Aronofsky's next film, Caught Stealing...

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On Oct. 7, when the Israel-Hamas war broke out, Palestinian director Annemarie Jacir was just one week away from starting principal photography in Bethlehem, 45 miles from Gaza, on “All Before You.” The Oscar-nominated filmmaker’s long-gestating project reconstructs the 1936 farmer-led revolt against British colonial rule and the influx of Jewish settlements in Palestine that has been at the root of the conflict. The latest outbreak of violence came after a Hamas-led terror attack that left about 1,200 Israelis dead while 250 were taken hostage, with more than 100 believed to still be held by Hamas.

Now Jacir, who is based in Ramallah, the de facto capital of the Palestinian Authority, is anxiously waiting for a cease-fire that will put an end to the death and destruction and allow her to go back and shoot the drama. “It’s more important than ever to tell this largely forgotten story,” she says....

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Oppenheimer finally premiered Friday in the nation where two cities were obliterated 79 years ago by the nuclear weapons invented by the American scientist who was the subject of the Oscar-winning film. Japanese filmgoers' reactions were understandably mixed and highly emotional.

Highlight:

Others suggested the world might be ready for a Japanese response to that story.

Takashi Yamazaki, director of Godzilla Minus One, which won the Oscar for visual effects and is a powerful statement on nuclear catastrophe in its own way, suggested he might be the man for that job.

"I feel there needs to [be] an answer from Japan to Oppenheimer. Someday, I would like to make that movie," he said in an online dialogue with Oppenheimer director Christopher Nolan.

Nolan heartily agreed.

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British-American filmmaker Christopher Nolan, fresh from his Oscar victory for historical drama "Oppenheimer", will receive a knighthood from Britain for services to film. His wife and film producer Emma Thomas will receive a damehood, the female equivalent of a knighthood, the British government said on Thursday in a list of honours recommended by Prime Minister Rishi Sunak that also included Conservative politicians and tech industry leaders.

"Oppenheimer", a blockbuster biopic about the race to build the first atomic bomb, claimed seven Academy Awards earlier this month, including the best picture trophy and Nolan's first best director Academy Award. His career includes other highly regarded films such as "Interstellar," "Inception", "Dunkirk" and the Batman trilogy.
Nolan wrote the screenplay for "Oppenheimer" and produced the film with Thomas.

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Almost ignored when it came out, this underrated, strangely poignant but light hearted crime film has a great cast (Andy Garcia, Christopher Walken, Treat Williams, Steve Buscemi, Christopher Lloyd, Fairuza Balk..) and some unforgettable lines.

Posting a short excerpt from the film because the trailer is ass and probably contributed to its bad reputation.

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Scott Derrickson has been set to direct an adaptation of Davis Grubb’s classic 1953 novel The Night of the Hunter for Universal Pictures, working from his script written with C. Robert Cargill, his longtime collaborator on The Black Phone, Doctor Strange and other projects.

Peter Gethers will produce through his KramMar Delicious Mystery Productions, alongside Amy Pascal, whose Pascal Pictures has a first-look deal with the studio.

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Watch how the Ichi the Killer director was able to use the iPhone 15 Pro to turn a manga into a 19-minute short film. An adaptation of a manga story by the popular Japanese manga artist Osamu Tezuka, "Midnight" tells a simple story really about a late-night taxi driver (played by Kento Kaku) who offers to help those who need a lift (so to speak) on the nighttime streets of Tokyo. And, on one night in particular, he offers assistance to a woman (Konatsu Kato) who is in a battle with a local gang led by an evil boss (Yukiyoshi Ozawa).

The film itself bounces between black-and-white vignettes and action-packed sequences filmed on the neon-lit streets of Tokyo, offering a nice contrast of the iPhone 15 Pro’s cinematic range. It also features plenty of Miike’s hallmarks including fight sequences, car chases, and plenty of weird characters.

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Dieudo Hamadi’s documentary is a clear-eyed look at the brutal aftermath of the DRC’s ‘six-day war’ as disabled victims journey to the capital to present their demands to the government

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By Tessa Kauer: What could the plot of a movie about The Sims possibly look like, you ask? I have ideas

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In his first male film role, Elliot Page brings palpable personal investment and empathy to Dominic Savage's homecoming drama 'Close to You.' "Close to You” marks a reintroduction for Elliot Page, a screen presence at once warmly familiar and sharply redefined, finally established on his own terms. In his first film role since coming out as a trans man, the actor has evidently brought much of his own identity and experience to this sensitively observed story of a trans man cagily reunited with his family after a five-year period of estrangement. (In addition to producing the project, he shares a story-writing credit with director Dominic Savage.) But Page’s performance isn’t moving merely for whatever parallels it might hold to his life: Rather, it’s a reminder of what a deft and perceptive actor he can be, capable of both naked emotional candor and acidic wit — both assets to a script that sometimes errs on the side of caution.

British director Savage is known for his improvisatory collaborations with actors, which recently drew career-best work from Gemma Arterton in the 2017 feature “The Escape,” and extended to the TV project “I Am…,” a series of intimate standalone character portraits by the likes of Samantha Morton, Letitia Wright and a BAFTA-winning Kate Winslet. Crossing over to Canada to work with Page on his home turf, the director’s technique once again gives his star ample leeway to explore himself on screen, in the process capturing something that feels truthful, however fictionally constructed. That sense of raw integrity has stood the film in good stead on the festival circuit, attracting particular interest from LGBT-oriented programmers and distributors, since its buzzy Toronto premiere last fall, shortly after the publication of Page’s memoir “Pageboy.”

Dramatically, however, improv yields mixed rewards in “Close to You,” which bounces between scenes that are finely detailed in their examination of open prejudice and subtler microaggressions in the family sphere, and others that are more vaguely essayed, building relationships on backstories that don’t yet feel fully formed. From-the-gut acting, not just by Page but a fine ensemble of Canuck character players, carries the film across the line, though even at a modest 98 minutes, it could feel tighter...

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Five short films from India, Spain, the Philippines, the UK, and the US showcasing LGBTQIA+ narratives that resonate with resilience and authenticity are being screened in 10 cities across India.

British Council in partnership with British BFI Flare: London LGBTQIA+ Film Festival launched the 10th edition of the ‘Five Films for Freedom’ last week.

In India, in partnership with The Queer Muslim Project, 12 screenings for the films will be held. At the launch event in Delhi, the first screening was held, showcasing diverse narratives and fostering dialogue on LGBTQIA+ issues.

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By now, the industry’s inherent problems have been widely enumerated. Among them, streaming companies aren’t acquiring the types of films that formerly defined independent film—the “discovery films,” as attorney and sales agent John Sloss of Cinetic Media calls them. Fewer arthouse distributors have “pay-one” output deals, and without these guaranteed ancillary revenues, it’s harder for these distributors to pay significant advances or commit to robust theatrical releases. Acquisition offers become fewer and less lucrative, which consequently makes equity financiers wary of investing in indie films in the first place—a vicious cycle.

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This beautifully shot psychological thriller is one of the Ur-texts of the serial killer genre. A critical scandal when it was released, Peeping Tom destroyed its director's career but has since been widely acknowledged as an influential masterpiece.

STUDIOCANAL are proud to announce the release of a spectacular 4K restoration of Michael Powell’s iconic serial killer classic PEEPING TOM...

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A careworn Cillian Murphy excelled, Atlantics director Mati Diop returned, astronaut Adam Sandler had us drifting off, and kitchen dramas continued to sizzle

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Strange Way of Life follows in the footsteps of other queer Westerns like Ang Lee's Brokeback Mountain to explore masculinity in a deep, meaningful way that diverts from the traditional formula of the genre. It begins when Silva rides out to visit Jake and reminisce about old times and celebrate the fun they had in their youth. Before they were separated, the two worked side-by-side as hired gunmen and enjoyed a passionate relationship with one another. Their happy reunion is soon put on hold as Jake suspects that the rancher has an ulterior motive for suddenly arriving at his home.

Dir Pedro Almodóvar, starring Pedro Pascan and Ethan Hawke

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A young indigenous boy with perplexing powers is forcibly brought to a Christian orphanage led by the alcoholic Sister Eileen (Cate Blanchett) in Warwick Thornton’s sketchy, fragmented drama.

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Empire's list of the 50 greatest science fiction movies of all time, from 2001: A Space Odyssey and The Matrix to Blade Runner.

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