The Arc Cinema has signed a long-term lease with developer and investor Squarestone Asset Management to become the leisure anchor at Ayr’s Kyle Centre. Coupled with South Ayrshire Council’s planned Leisure Centre on the Arran Mall site, which is also controlled by Squarestone Asset Management. This will see a key area in the heart of the town center repurposed into a vibrant cultural and leisure destination.
Film and television visual effects company VFX Legion delivered all of the effects for Nocturne, director Ze Quirke’s feature film debut, for Welcome to Blumhouse. Amazon Studios joined forces with Blumhouse Television to create the theme-related series showcasing emerging filmmakers who bring a fresh perspective to the horror genre. Legion’s team produced a mix of complex computer-generated effects that helped elevate the visceral fear and foreboding evoked by the thriller’s untraditional occult theme.
Behind Her Eyes, a six-part mystery-drama for Netflix, based on the novel of the same name by Sarah Pinborough, follows Louise, a single mother with a son and a part-time job in a psychiatrist's office. Louise begins an affair with her boss and strikes up an unlikely friendship with his wife but finds herself caught in a web of secrets and lies where nothing is what it seems.
In a clear sign that audiences will return to theatres once they’re open and have a good movie to present, the Global Cinema Federation today celebrated the record opening weekend in China of Detective Chinatown 3. The title set a single market record for opening day of $163 million and opening weekend $397 million. This comes one year after China’s 70,000 screens were completely shuttered for 2020’s Lunar New Year celebrations.
Barb and Star Go to Vista Del Mar was written by its two lead actors, Annie Mumolo and Kristen Wiig, who also wrote the 2011 smash hit comedy Bridesmaids. Directed by Josh Greenbaum, the film tells the story of best friends who leave their small Midwestern town for the first time to go on vacation in Florida, where they soon find themselves tangled up in adventure, love, and a villain’s evil plot to kill everyone in town. It was shot by cinematographer Toby Oliver, who said, “We shot with lots of color.”
Much has been written, broadcast, and talked about regarding the fate of cinemas throughout 2020. As the CEO of a global cinema technology company, I stand at the crossroads of talking with exhibitors, technologists, leaders, and creatives across geographies. This mosaic of viewpoints provides a unique perspective into our industry-specific challenges, opportunities, and possibilities for the road ahead. When you start to connect the dots in our industry, three drivers have significant potential to shape cinema in 2021.
Snake White: Love Endures is a mesmerizing new independent film based on a timeless Chinese love fable. The earliest known written version of the story appeared in the 1600s during the Ming Dynasty. Over the centuries it has been repeated many times in operas, movies and television series and is considered to be one of China's Four Great Folktales. This latest film, while faithful to the spirit of the original folktale, is almost in a category of its own as it combines traditional Cantonese opera with modern music and breathtaking visual effects.
In the MovieLabs white paper The Evolution of Media Creation, we outlined a vision for implementing true cloud-native production workflows. In that vision media production moves outside of the security perimeters that protect individual facilities such as post-production and VFX companies and becomes a virtualized security system to protect all of those involved in production workflows. These workflows transcend organizations, and simply stated, protecting them requires a new approach to security.
Claudia Raschke is an award-winning New York City based cinematographer best known for such films as Oscar-nominated and Emmy winning RBG (Magnolia/ Participant/ CNN), Oscar-nominated God is Bigger Than Elvis (HBO), Peabody Award-winning Black Magic (ESPN), Oscar short-listed Mad Hot Ballroom (Paramount), Particle Fever (Bond), Atomic Homefront (HBO), and The Freedom to Marry (Argot Pictures). Her latest film, which screened at this year’s Sundance Film Festival, is My Name is Pauli Murray. Fifteen years before Rosa Parks refused to surrender her bus seat, and a full decade before the U.S. Supreme Court overturned separate-but-equal legislation, Pauli Murray was already knee-deep fighting for social justice. A pioneering attorney, activist and dedicated memoirist, Murray shaped landmark litigation—and consciousness— around race and gender equity. As an African American youth raised in the segregated South—who was also wrestling with broader notions of gender identity—Murray understood, intrinsically, what it was to exist beyond previously accepted categories and cultural norms. The film was made by the same team that made RBG including directors Julie Cohen and Betsy West, producer Talleah Bridges McMahon and editor Cinque Northern. My conversation with Raschke, via email, began with that team.
Robert Lorenz’s movie The Marksman debuted at number one upon release in the U.S. and owes much of its look to cinematographer Mark Patten. “The nature of the shoot is that the story starts in the big vista landscape of New Mexico and then turns into a road movie,” said Patten.