New Behind-the-Scenes Featurette for Jordan Peele’s Sci-Fi ‘Nope’

by Alex Billington
June 8, 2022
Source: YouTube

“I tried to write a script that I didn’t know how to pull off. And then assembled the team to help me pull it off.” Universal has launched a new 2-minute behind-the-scenes featurette for Jordan Peele’s movie Nope, which seems to be a sci-fi thriller involving an extraterrestrial appearance in a small town. That’s still all we know about it. The full-length official trailer is out now, to go along with this making of preview. Along with the first trailer back in February, this footage is all so mysterious and interesting. Is it aliens or something else? Nope’s cast features Daniel Kaluuya, Keke Palmer, Steven Yeun, Barbie Ferreira, Michael Wincott, Donna Mills, and Terry Notary. This featurette provides a cinematic look at the production, without much dialogue or any explanations as to what we’re seeing. Always nice to see so many full IMAX cameras in use on set! I’m still excited to find out where Peele is taking this story and what’s really going on.

Here’s the “Cinematic Event” featurette for Jordan Peele’s Nope, direct from Universal’s YouTube:

You can rewatch the first official trailer for Jordan Peele’s Nope here, to see the first look reveal again.

For more clues + updates on Nope’s release, visit @Nope_Movie on Twitter or @nopemovie on IG.

No plot details have been revealed yet – only the vague posters and first trailer so far. Nope is both written and directed by American actor / comedian / writer / producer / filmmaker Jordan Peele, director of the films Get Out and Us previously, as well as a producer on Keanu, Candyman, and BlacKkKlansman and the TV series “The Twilight Zone”, “Lovecraft Country”, and “The Last O.G.”. It’s produced by Ian Cooper and Jordan Peele. Featuring cinematography by Hoyte van Hoytema, and music by Michael Abels. Universal will release Peele’s Nope in movie theaters nationwide starting July 22nd, 2022 this summer. Still look good?

Find more posts: Featurette, Sci-Fi, To Watch

Rashmika in Pushpa has created a whole new fan base all across the nation. After the release of the song, the actress has been crowned the ‘Srivalli’.

On the work front, apart from ‘Goodbye’, Rashmika has the sequel of ‘Pushpa’ 2 under her kitty along with ‘Mission Majnu’ opposite Sidharth Malhotra, and Varisu with Vijay Thalapatty.

A new film starring Anne Heche about sex trafficking will still air after news that Heche is not expected to survive after a fiery car crash.

“Girl in Room 13,” remains set to premiere on Sept. 17, according to the Lifetime Movie Network, the production company that made the film.

According to Lifetime, in the film Heche plays a mother in search of her daughter who fell victim to human trafficking, and “discovers the dark world of human trafficking and the shocking statistics about its widespread victims and its unexpected accomplices.”

Heche, an Emmy Award winner, was originally scheduled to appear on the film’s panel at the Television Critics Association virtual press tour on Aug. 11, but she was hospitalized after her blue Mini Cooper smashed into a Los Angeles home on the morning of Aug. 5 and flames erupted.

During the panel on Aug. 11, Amy Winter, the Lifetime network’s executive vice president and head of programming, asked reporters to “kindly refrain from inquiring about her health status,” reported Deadline.

“As many of you know, Anne remains in critical condition and all of us here at Lifetime are deeply concerned for her and everyone affected. We hope that her friends and family stay strong during this difficult time,” Winter said on Aug. 11.

“You know, just as much as we do, that we ask that you kindly refrain from inquiring about her health status,” she added. “This project is important to Anne, along with each and every one of us. We all sought to make a film that would bring attention to this appalling issue of human sex trafficking.

“We hope that this film reached you and that you are just as inspired as Anne was to help us with our mission to stop violence against women. Thank you for your support and your questions about the film.”

During the panel, director Elisabeth Rohm confirmed that filming on the movie was completed and that it is scheduled to premiere in September. Rohm said that Heche “did a phenomenal performance” in the film.

The Los Angeles Police Department announced on Aug. 12 it had ended its investigation into Heche’s crash.

“As of today, there will be no further investigative efforts made in this case,” the department said. “Any information or records that have been requested prior to this turn of events will still be collected as they arrive as a matter of formalities and included in the overall case. When a person suspected of a crime expires, we do not present for filing consideration.”

Detectives looking into the crash had said narcotics were found in a blood sample taken from Heche.

In a statement obtained by Deadline on Aug. 11, a representative for Heche’s family said that owing to the accident, the actress “suffered a severe anoxic brain injury and remains in a coma, in critical condition.”

“It has long been her choice to donate her organs and she is being kept on life support to determine if any are viable.”

“Anne had a huge heart and touched everyone she met with her generous spirit. More than her extraordinary talent, she saw spreading kindness and joy as her life’s work—especially moving the needle for acceptance of who you love. She will be remembered for her courageous honesty and dearly missed for her light,” the statement reads.

Heche was brain dead and was on life support, pending evaluation for organ donation, before the life support was removed on Aug. 14.

The Associated Press contributed to this report.

A single-shot film creates an illusion of continuity of time and space, like in real life. This ‘illusion’ or rather the technique employed to make the film look seamless is often dismissed as gimmickry — whether it is Hitchcock’s Rope or Sam Mendes’ 1917. In most cases, single-shot is a myth that filmmakers create in order to distract the audience from noticing the cuts, unlike, say, Don Palathara’s Santhoshathinte Onnam Rahayasam which was actually shot like a continuous film. In some cases, you cannot even guess these invisible cuts. For a single-shot film to work, the filmmaker has to sustain this illusion of continuity.

And it is not a coincidence that Parthiban’s Iravin Nizhal opens with a mirage: distorting images with lights and shadows tumble out, as Rahman’s haunting ‘Kaayam’ plays in the background. But, unlike the famously shot one-take films, there is no editing gimmickry involved in Iravin Nizhal. Before the film begins, a 30-minute video is shown to illustrate this point.

Single-shot films are so complex to execute that it begs us to ask this question: does this story warrant to be told in this format — like a single, unbroken shot? But that is the choice of the filmmaker and we have to only assess what we see on screen and whether it is working or not. One of the earliest and classic examples of a single-shot film is Rope, which Hitchcock once said, “ was an experiment that didn’t work out”. Hitchcock was so enamoured by the play that he decided to make Rope as a single-shot film, perhaps, as a means to sustain the suspense amongst the audience.

Rope is a good example to understand Iravin Nizhal. The latter too, unfolds like a lavish Broadway theatrical production. But the main difference is, in a play, things unfold in real time for an audience. However, in the film format, the camera’s gaze becomes the audience’s. In that sense, Iravin Nizhal is a film that downloads right in front of our eyes just like a play, and the audience’s engagement remains vital. But there is a catch in that too. We miss the most important part of the camera when it takes the audience’s point of view: focus.

Only a handful of filmmakers have dared to make a film look like one continuous shot, given the number of logistical nightmares involved. But even those films were centred around vast spaces or at least had the elbow room for the cameraperson. Every shot in Iravin Nizhal comes with a fresh set of challenges — for the cinematographer, set operators, assistant directors and actors. About the composition of Birdman, its cinematographer Emmanuel Lubezki was quoted in The Hollywood Reporter as saying. “We created the transitions by rehearsing; for the more difficult ones, we had to have visual effects.” 

Iravin Nizhal doesn’t use visual effects but it does follow a similar approach. Films like Rope, Birdman and 1917 are shot like a continuous film with a series of long shots, stitched together at the editing table. These ‘invisible’ cuts are not noticeable to our naked eyes. But Parthiban employs a new technique to this editing transitions, wherein the camera’s gaze pauses, fixedly at an image for a few seconds giving the actors and set operators a breathing room, to get ready for the next scene, next set piece — all in a matter of a few seconds. Sounds crazy? Ridiculous? There is a catch in that too.

In the same interview, Lubezki talks about the lighting complication they faced. “Lighting Michael at his makeup mirror will create a shadow a minute later if we move around the room. So we had to time all of the lighting changes, making sure you don’t see shadows.” Iravin Nizhal’s set consists of 59 little blocks like a maze. Its frames are crowded with people, props and set pieces that further complicates Arthur Wilson’s job. For, he has to carry the Sony Venice camera on his shoulder for 100 minutes, with so many landmines. Even if one actor goes out of focus or if the camera topples, or if they don’t get the lighting right, it is back to square one. In short, what Parthiban, Wilson and their team have achieved — even if it went for 23 takes — is nothing short of phenomenal. They are sure to wow the National Awards committee.

The idea for Iravin Nizhal is this: a bruised man in his 50s rummages through past memories, while on his way to settle things with an old acquaintance. We get a sense of his life through the memories that unfold in a disorderly fashion. For a film that has a high degree of difficulty to pull off, it requires tons of patience and belief. Not just Parthiban but his actors too, need to maintain a positive frame of mind, even if they were to take the blame for losing a take.

Parthiban is also human. He loses his cool when someone screws up in the 90-something minute, when they don’t press a button properly. Which means they have to start again — from the beginning. We see Parthiban bursting him. But because the director is smart, he turns this goof up into a natural moment in the film.

There are quintessential Parthiban things that really stand out. A character is on the way to kill the ghost of the past. He enters the graveyard through a hole he breaks open in a wall, while we hear a baby’s wail in the background — as if a metaphor on him returning to mother’s womb. A man who has only seen downers in life, forcing him to stop believing in God or hope, has a daughter named Arputham. She calls him ‘thappa’ instead of ‘appa’, as if a reminder of who he is: someone who got on the wrong side.

Posing like Orson Welles with a hat in The Third Man, the protagonist of Iravin Nizhal is afraid of his own reflection, own shadow. There is that trademark wordplay between amman (goddess) and ammanam (nude), mangalam undagattum (may you prosper) and undagirukken (I’m pregnant). Six o’ clock is pronounced sex o’clock to highlight someone’s post-evening rituals. There is a joke linking motherhood and marital rape that doesn’t land well. But that is the thing, the women we meet are either treated as goddesses or vamps. There is a shot of a baby lying on his dead mother’s breast, wailing in hunger. He is a product of an extramarital affair and he begins to wonder if he was breastfeed milk or poison [fortunately, Parthiban arranged a special screening. We saw the uncensored version].

A film’s merit cannot, shouldn’t be restricted to it being the ‘first’ of many. When Hitchcock made Rope, the film’s merit was not just it being shot as a continuous film. Likewise, the focal point of Iravin Nizhal shouldn’t just be the single-shot aspect; what the filmmaker does within the format is crucial too.

It is like this: within the constraints of time and space, you can either make an outstanding single-shot film or make a single-shot film look outstanding. Parthiban, unfortunately, takes the latter route. Don’t get me wrong. Iravin Nizhal, without an ounce of doubt, is a remarkable technical achievement wherein Parthiban flexes his directorial prowess. But beyond the stamp of ‘world’s first nonlinear single-shot film’, does it leave you with a wholesome feeling of having witnessed something special? Yes, for its ambition; no, for what is edited out [Parthiban says this is a film edited during the writing stage]. 

The writing is not slender — but the production is, so, everything has to be accommodated keeping the set design in mind. As a result of this onslaught, some moments — like a character’s affair or when someone dies by immolation, or when Parthiban uses voiceover as a device to fill up narrative gaps — needed elaborate staging and better emotional payoff. Sometimes a lot is packed in the frame that you wish there was a little more pacing [Rahman’s gentle music does this for the most part] and coherence between the scenes. For an average viewer, this might not be a problem. But for us film writers, it comes across as too easy, too convenient at times. Nevertheless, Parthiban does dare to dream big. He seems to enjoy taking risks, outdoing himself. Keep daring, Parthiban.

Iravin Nizhal releases in theatres this Friday

Sources said that the office was attacked on the day after the death anniversary of Dhanaraj, CPM-DYFI leader in the locality who was murdered. Reportedly, over his murder too, the RSS office was set on fire then.

Satheesan said that Vivekananda’s take on Hinduism and RSS’s Hindutva are different. “I have always opposed the views of RSS. Even if I have to quit politics, there will not be any truce with communalism,” he said.

Animated Adventure ‘My Sweet Monster’ English-Language Trailer

by Alex Billington
March 8, 2022
Source: YouTube

“What do you see in her? She has no horns, no fur.” Lionsgate has revealed a trailer for an animated movie titled My Sweet Monster, made in Russia but being released in the US with an English-language voice cast. And guess who they got for the voice?! Yeah it’s Pauly Shore (!!) back AGAIN in an animated movie – he’s also voicing Pinocchio in the Pinocchio: A True Story movie. This must’ve been a package deal, there’s no other way to explain it. I mean, come on?! In this next movie, the story is about Princess Barbara – who is secretly in love with Prince Edward. But when the sneaky post clerk Weasel demands that the king to marry him to Barbara, she flees. A sweet monster named Bogey does everything in his might to help Barbara save the kingdom. Sounds strange and extremely derivative. The voice cast also includes Hilary Duff and Jon Heder. This looks especially cheesy and entirely unoriginal, but I am sure young kids will enjoy it anyway.

Here’s the US trailer (+ poster) for Glukhushin Volkov’s My Sweet Monster, from YouTube:

On her wedding day, rebellious Princess Barbara flees the kingdom to escape from evil postman Bundy, who wants to marry her to seize power. She’s rescued by Bogey, the odd but lovable king of the wilderness. Bundy plots to rob the forest’s supply of Spark, a magical life-giving elixir. Only Bogey, Barbara, and their bouncy friend Bunny can stop him – but can they face Bundy’s vicious army of giant, robotic rats? “The whole family will enjoy this magical, musical adventure.” My Sweet Monster, originally known as “Бука. Моё любимое чудище” in Russian, is co-directed Russian filmmakers Viktor Glukhushin (MULT v kino. Vypusk No. 101) Maksim Volkov (Sheep Wolves, Sadko) making their first film together. The screenplay is by Aleksandr Arkhipov, Dmitriy Novoselov, Melanie Simka, Mychal Simka, Maksim Volkov. Lionsgate debuts My Sweet Monster direct-to-VOD / dvd in the US starting April 12th, 2022 this spring.

Find more posts: Animation, Foreign Film, To Watch, Trailer

By Jessie Yeung and Gawon Bae, CNN

Updated 4:15 AM ET, Fri August 12, 2022

“Nope,” Jordan Peele’s third movie, opened to an estimated $44 million this weekend in North America, according to Universal Pictures.

The science-fiction film, which stars Daniel Kaluuya as a Hollywood horse wrangler dealing with some extra-terrestrial problems, was expected to make around $50 million this weekend, according to initial projections.

It is Peele’s third film in a row to open at No. 1 at the North American box office and the biggest domestic opening for an original script since 2019’s “Us,” Peele’s last film, according to the studio.

Despite its plot being shrouded in mystery, “Nope” was one of the most anticipated movies of the year, so its opening is bit lackluster. However, it is still solid considering that the film is rated R, isn’t tied to a Blockbuster brand or sequel and had a relatively modest production budget of $68 million.

The opening for “Nope” tops Peele’s first film, “Get Out,” which made $33 million in 2017, but falls short of “Us,” which blew past expectations three years ago, opening to roughly $70 million — more than tripling its $20 million production budget in a single weekend. Both films eventually made $255 million worldwide.

This isn’t a spectacular opening the way “Us” was, but the film could have legs considering it has good reviews with a 83% critics score on Rotten Tomatoes.

“When it comes to Jordan Peele, it’s not so much about the opening weekend as much as it’s about building that word of mouth,” Paul Dergarabedian, senior media analyst at Comscore

(SCOR), told CNN Business. “His movies are in it for the long haul.”

Dergarabedian also noted that there’s really no competition in the weeks to come, which may be good news for ticket sales going forward.

Why “Nope” didn’t make more could be due to myriad reasons. For starters, Peele’s films — while entertaining — are reliably cerebral. That could leave some audiences perplexed rather than pleased, which explains the film’s “B” CinemaScore.

Also, the marketing around “Nope” was deeply cryptic and that may have led to more people being wary of diving in this weekend. This is especially the case right now as inflation is soaring and audiences are being careful with how they spend their money.

All in all, the opening of “Nope” was in the range of projections and will go down as another win for Peele and Universal.

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