Wachowski is — along with her sister, Lana — the most powerful and influential trans filmmaker around. The 58-year-old had gifted us “The Matrix” series, “Bound” and “Sensse8,” to name a few, and yet, after her critically acclaimed series “Work in Progress,” about a middle-aged lesbian who begins dating a much younger trans man, was canceled by Showtime after two seasons, she spent years pitching “cool and queer trans stories” to Hollywood but couldn’t find a single taker.

So, Wachowski took matters into her own hands, joining forces with Bay Area film programmer Sarah Marie Flores and producer Lawrence Mattis to form Anarchists United Foundation and Anarchists United Studio with the mission of championing stories from marginalized communities. Here’s how it works: The foundation provides grants and fellowships to aspiring filmmakers, mentorships via its Directors Prep & Pitch Lab and office space courtesy of United Spaces of Anarchy, while helping fund the studio. Anarchists United’s first project is “Cassie Workman Is Witchy AF,” a DIY docuseries that features the trans Aussie comic exploring the history of the occultism and magic with her trademark wit. It will debut Sept. 16 on YouTube.

...

What compelled you to form Anarchists United Foundation and Anarchists United Studios?

The story is: I was talking to Sarah Marie Flores, who is our third in the triumvirate of the Anarchists — between me and Lawrence Mattis — and was coming out of this TV show that I’d worked on that I was really proud of, “Work in Progress,” which went for two seasons, got on all these top ten lists and didn’t get the viewing numbers that the studio wanted, so we were summarily canceled and a few months later pulled from streaming. This rankled me. There was something particularly special about working on “Work in Progress” to me: It was the first time I was able to cast as many trans and queer people as I did, and in all of that representation and seeing all these people onscreen who I’d never gotten to see before, I was like, This is something that makes sticking around in the business worthwhile. So, when Showtime turned around and canceled the show even though it was so critically acclaimed and really made for peanuts, it lit a fire under me. I saw all these windows closing and opportunities dwindling for marginalized voices, and I was like, “Somebody needs to do something about this. Somebody needs to make another attempt at the old United Artists model where it would be an artist-run studio.” And Sarah said, “That someone is us.”

Just watched this movie after not seeing it since 2001 at a friend's house and man I forgot how hard the ending really hits. I can see how the whole movie can be so easily relatable even today...made me pretty depressed. As I sit here in bed I'm just filled with emotions of past present and weariness of the future. I should be sleeping since I have to go to my dystopian grind tomorrow morning to scrape by like the rest of us I guess.

Anyways...thoughts on this movie? I give it an 8/10.

What's your thoughts on Ma movie?

A found footage horror from 2017.

It was ok. The plot is predictable but enjoyable and the movie is nice to look at. The real found footage mostly begins halfway through with most of the run up being the background events.

It is very similar to Area 51 from 2015, but better.

It can be found freely on multiple sites.

In some ways, filmmaker Sofia Coppola and painter Lisa Yuskavage are an odd match. Yuskavage proudly hails from a working-class family in a hardscrabble Philadelphia neighborhood, while Coppola is… a Coppola. But what they have in common (in addition to Irish and Italian ancestry) is an abiding interest in feminine jouissance—audience expectations be damned. (When Yuskavage debuted her candy-colored paintings of perky-breasted women in the 1990s, a critic described them as “visual stink bombs.”)

It’s not surprising, then, that both artists quickly understood what the other was up to. The two have been friends for decades, constantly circling one another in New York’s creative scenes. They have both spent their careers making art inflected by girlhood, a preoccupation that some have mistaken for superficiality. Both work in media—film and painting—that have historically been dominated by the male gaze. But over the past 30 years, their refusal to conform to a palatable style and subject matter has given them staying power in a culture more inclined to gobble up female artists and discard them.

This fall, Coppola revisits Marie Antoinette, one of her unevenly-reviewed-turned-fan-favorite films, on its 20th anniversary. An exhibition at the Petit Trianon at the Château de Versailles (on view through January 2027) brings together collages, costumes, and other elements of the creative process, while a documentary chronicling the shoot, directed by her late mother, Eleanor Coppola, was picked up by Mubi. For her Cult of Personality issue cover story, the director sat down with Yuskavage to discuss making art that people love to hate—until they can’t help but fall in love.

Guyver: Dark Hero released on blu-ray for the first time! ...And it's AI slop, because we can't have nice things.

Free with english subtitles

Trailer: https://youtu.be/NHt55w3k_TM

Hoping for a discussion on this 3 hour movie. Any thoughts?

“The Mafia put out a $500,000 contract on Pistone and kicked the Bonanno family off the Commission. FBI agents visited Mafia bosses in New York and advised them not to murder Pistone. The contract was dropped by Paul Castellano, who headed the Commission, because he thought killing a federal agent would "attract too much attention""

Got this quote directly from Wiki based on Joseph "Donnie Brasco" Pistone. My quesstion is, isn't mafia job a crime? Yet the FBI knew the ones involved (they certainly knew if they visited them) and didn't do anything about it (like arresting them, surely mafias did crimes right?), only going to persuade them from killing Joseph.

You can see Paul Castellano, named cleanly and clearly, yet I dont find any charges against him (at least, for putting a bounty on someone's head). It's as if maybe they had a treaty with the Police at the time.. Or the police had lack of substantial evidence of their activities to prosecute? I'm not an American so I'm still lacking much info on this, please help me out. Thanks!

Despite or maybe because he is very visibly trying not to burst out laughing.

It all boils down to the old and tired argument of "comedy+slasher vs pure slasher".

After watching Burn, and generally enjoying it, I find the direction it and other new movies take don't have that much personality as 2 and 3 movies had. One can easily take Evil Dead props from them and they would be good but generic horror spectacles. The inclusion of absurd humor was what made it stand out to me from other horrors, underlined by a pretty generic name laughing at them, and I feel like deviating from that formula makes the series lose it's face, what made it unique.

But is there even a space in feature film industry for a comic horror? Not a couple of jokes and nods you see in many movies, incl. Burn, but the whole thing being a rollercoaster of self-conscious gags and scares? If there is one, I don't think it would work for Hellraiser, or Predator, or Saw, but Evil Dead can be the single best franchise to try it once again.

In spite of that, we see modern movies doubling down on current horror trends, with just a couple of gags. It pays the bill, but doesn't have as much energy as previous works that spawned it's own fandom and niche. If they were just one-offs, they could've easily being forgotten after a year.

Is there a space and possibility for another banger that joins horror and comedy? Are there examples I haven't yet seen? I want Lemmy moviegoers to share their opinions.

I love finding a movie that sticks with me for hours or days after watching so I felt like talking about it.

It's certainly a vibe, decent acting (especially the voice acting through the coms), interesting story though I found the writing a little clunky, but overall I really enjoyed it. The concept of the static photos being the only way to see really added to the vibe of claustrophobia, helplessness, and tension.

I absolutely adore "dirty" sci-fi; worlds that feel lived in and used, as well as sci-fi that throws you into the world without too much exposition letting you fil in some blanks without overburdening with details that aren't necessary, and this one did well with both. For lack of a better term, it has a "flavour" that really scratches an itch for me; the dirty, broken, retro/cobbled together tech in a world where things get used until they break, then used again. A world where you get a glimpse of it through one small story without learning about the bigger universe. In that vein it really remminded me of Prospect (2018).

The set design was the standout, story was good, and the acting was good enough to not be distracting. Only nitpick was the sound design, where audio was a little muddled and poorly mixed at times. I find with claustrophobic films like this, they can really benefit from a real focus on polished audio.

I started this movie and was intrigued by the potential for a movie that explored the class struggle. Nobody in the movie could be considered a "good guy". The closest was the low intelligence cousin that just got wrapped up it things. The major thing I left the movie with was just anger at how it ended. It built all this class struggle stuff up just to end it like "lol aliens". It's like the ruling rich made this movie just to laugh at the people who would go see it. Maybe I am just jaded with the fucked up reality of capitalism but this movie left a serious bad taste in my mouth.

Just caught it, but honestly a bit disappointing :/. I feel like Anthony was a horrible person the entire film up until the very last minute when he lucked into a redemption arc and had to do the bare minimum to not sink deeper.

I guess the point is he went on to do more good after the film, but it fell a bit flat. I'll add I'm a bit too young to really know much about bourdain so I didn't have much fondness for the person behind the film.