Tag:

Cinematic

Glorious Full Trailer for Bi Gan's 'Resurrection' Cinematic Experience
Hollywood

Glorious Full Trailer for Bi Gan’s ‘Resurrection’ Cinematic Experience

by jummy84
written by jummy84

Glorious Full Trailer for Bi Gan’s ‘Resurrection’ Cinematic Experience

by Alex Billington
November 6, 2025
Source: YouTube

“A beautiful dream ride through the 20th century.” Janus Films has unveiled their full official trailer for the film Resurrection, a stunning creation from visionary Chinese filmmaker Bi Gan – who’s best known for his other two films Kaili Blues and Long Day’s Journey into Night. This originally premiered at the 2025 Cannes Film Festival in May, and screened at NYFF, London, Beyond Fest, and many others. Janus has set the release date for December – playing soon in select art house theaters. Resurrection is an entrancing sci-fi cinema creation following Miss Shu in a future where most of humanity has lost the capacity to dream, who discovers that one inhuman creature is still able to experience them. She enters his dreams, using her ability to perceive illusions to determine the truth in its visions of Chinese history. The film is divided into six chapters, with each representing one of the five senses, along with the mind. Starring Jackson Yee as the “monster”, Shu Qi as Miss Shu, with Mark Chao, Li Gengxi, and Huang Jue. The film is an entrancing journey through time and cinema – featuring six distinct segments showing different styles throughout film history. If you love cinema as much as we do here, then this is a must watch film whenever it plays near you.

Here’s the full official US trailer (+ poster) for Bi Gan’s film Resurrection, direct from Janus’ YouTube:

Resurrection Film Trailer

Resurrection Film Trailer

Resurrection Film Trailer

You can watch the teaser trailer for Bi Gan’s Resurrection cinema event right here for even more footage.

Original synopsis via NYFF: “This phantasmagoric dream machine from visionary Chinese director Bi Gan is an elusive yet monumental love letter to a century of cinema. Unfolding over five chapters that feature a dazzling array of styles, Resurrection is a cascade of imagery united by a luminous mythopoetic conceit: in a sci-fi-coded world where people have lost the desire to dream in the hopes of prolonging life, rogue “fantasmers” continue to stoke their imaginations and exist within unreality. From this magical premise, the film sends its ever-morphing protagonist (played by Jackson Yee) through a series of genres, from Méliès-inflected silent fantasy to wartime thriller to con-artist buddy pic to millennial vampire romance — the latter depicted in one of Bi’s customary, ever astonishing, single takes. Even within genre parameters, the director never takes the road well-traveled, offering jolts & marvels around every corner. Resurrection is one of the most audacious and ambitious gifts for cinematic thrill-seekers in many a moon.” ~156 mins.

Resurrection, also known as 狂野时代 in Mandarin (meaning Wild Times), is directed by acclaimed Chinese filmmaker Bi Gan, director of the films Tiger, Kaili Blues, and Long Day’s Journey into Night previously, plus many other short films. The screenplay is written by Zhai Xiaohui and Bi Gan; from a story by Bi Gan. Produced by Shan Zuolong, Yang Lele, Charles Gillibert. This initially premiered at the 2025 Cannes Film Festival playing in the Main Competition section – where it won a Special Award. Janus Films will debut Bi Gan’s Resurrection film in select US theaters starting on December 12th, 2025 later this year. Intrigued?

Share

Find more posts in: Foreign Films, Indies, To Watch, Trailer

0 comments
0 FacebookTwitterPinterestEmail
RIIZE announce comeback details with cinematic trailer
Music

RIIZE announce comeback details with cinematic trailer

by jummy84
written by jummy84

RIIZE have revealed the details of their comeback – find out more below.

  • READ MORE: RIIZE are charting a rapid ascension in the K-pop industry – and they aren’t slowing down

Yesterday (November 2), the SM Entertainment group took to social media to release the cinematic trailer for ‘Fame’. Watch the trailer below.

‘Fame’ is due for release on November 24, with more details set to be revealed in the coming days. It is currently unclear what other songs will make up the K-pop boyband’s ‘Fame’ single album.

RIIZE most recently released the album ‘Odyssey’ in mid-May. It included tracks like ‘Fly Up’, ‘Midnight Mirage’, ‘Inside My Love’, ‘Another Life’, ‘Ember To Solar’ and more.

The album is RIIZE’s first release since founding member Seunghan left the group in October last year. His departure occurred only two days after Seunghan and SM Entertainment faced backlash after the latter announced his return to RIIZE following a year-long hiatus.

Shortly after, a number of K-pop retailers across the globe halted restocks of RIIZE merchandise “out of respect for our customers, fans, and the artist”. Although the label did not heed fans’ requests to add Seunghan back to the band, they announced he would debut as a soloist sometime this year. His debut solo album ‘Waste No Time’ arrived on July 31.

The post RIIZE announce comeback details with cinematic trailer appeared first on NME.

0 comments
0 FacebookTwitterPinterestEmail
Albania Propaganda Archives Reveal a Passion for the Cinematic
TV & Streaming

Albania Propaganda Archives Reveal a Passion for the Cinematic

by jummy84
written by jummy84

Roland Sejko’s doc “A State Film,” culled from a vast archive of official footage made under the regime of Albanian strongman Enver Hoxha, is a fascinating study in the power of image and myth.

Screened in the main competition at the Czech Republic’s primary annual nonfiction film event, the Ji.hlava Intl. Documentary Film Festival, the compilation of carefully constructed images for the masses contains much to unpack, says Sejko.

“I’ve been working for several years with propaganda film archives — first with Istituto Luce Cinecitta, and also with the archives of the Albanian communist regime,” Sejko says. “Both contain thousands of films created to construct a political narrative, often with striking cinematic ambition.”

The genre is one Sejko explored in his previous film, “The Image Machine of Alfredo C.,” screened in 2021 at the Venice film fest. That film tells the true story of an Istituto Luce cameraman who filmed Mussolini and fascist propaganda, and, eventually, the head of communist Albania.

“It was a hybrid film, but during its making I realized that the vast Albanian film archive — and the central figure of Enver Hoxha — had never been narrated exclusively through their own images.”

So Sejko, as a professional archivist and head of the editorial department for Italy’s Cinecitta Luce, set about analyzing and curating from the decades of state propaganda films.

“The Albanian propaganda newsreels and documentaries clearly bear the mark of Eastern Bloc cinematography,” Sejko says. “The first Albanian camera operators were trained by Soviet masters — starting with Roman Karmen, the legendary chronicler of revolutions and wars.”

“There was never a manual for the propaganda cameraman, no written rulebook for how to film a regime. Yet something invisible governed their images. A First of May parade filmed in communist Albania looks strikingly similar to one filmed in Moscow or Bucharest or Sofia in the same years.”

Indeed, the images of cheering worker heroes and dancing girls in traditional folk garb seen in “A State Film” are hauntingly familiar.

Spanning the post-WWII years, with Albanians urged to “obey and execute the laws of the government” while honoring heroes’ bloody sacrifices, the footage makes clear Hoxha’s devotion to Stalin and Yugoslavian dictator Josip Broz Tito.

Outsize portraits of all three are hauled down endless streets as crowds of obligatory fans parade their wheelbarrows, shovels and carbines. Praises are sung for industry while defensive bunkers, of which Hoxha build hundreds of thousands, withstand test blasts, proving their readiness to stand up to decadent imperialist forces from the West.

Dogs and guinea pigs are sacrificed, presumably to test exposure to potential gas attacks.

And all the while, there’s always another rousing patriotic song for the peasants to sing.

“It is not just the cameraman’s technique that creates this resemblance,” Sejko says. “It is the vision of the world being shown: always the same choreography of collective joy.”

That said, as audiences take in “A State Film,” they begin to perceive that the images have been somehow distilled. Then they may notice the soundtrack, with the original heavy-handed narration replace by the sounds of the breeze in trees, birds chirping and feet tramping unpaved roads.

“In official propaganda films — newsreels, documentaries, parades — the narrator’s voice was not descriptive but prescriptive: it told viewers what to think. Replacing it with another commentary, even a critical one, would have meant repeating the same mechanism.”

“So I removed not only the voice but the whole original soundtrack, keeping only what was real — applause, songs, speeches. I built a new, realistic soundscape with footsteps, murmurs, creaks, silences, as if the scenes had been recorded live. This new texture restores the images’ physicality and opens a space where sound itself becomes a narrative tool.”

Add to this the intercutting of footage from Hoxha’s personal archive, showing moments away from the cheering masses, invariably featuring drives in the dictator’s favorite black Mercedes, and a striking contrast emerges.

These motifs take on a symbolic value, according to Sejko, and suggest the loneliness and isolation of power. “A State Film” raises the question of how forms of propaganda have changed, while also forcing uncomfortable realizations as to how many of the classic tropes are still being rolled out today.

“A State Film” has been described as demonstrating “how the archive is not just a repository of images, but a tool for interpreting and rewriting history.”

Indeed, the chilling parade of carefully staged scenes does seem to transcend the framework of national history, and, as the director says, explore the function of the image in the political sphere, and its ability to create collective memory.

0 comments
0 FacebookTwitterPinterestEmail
tamil tamil tamil
Bollywood

Nivin Pauly Begins Filming for Benz, The Next Chapter in The Lokesh Cinematic Universe

by jummy84
written by jummy84

Nivin Pauly has officially started shooting for Benz, joining Raghava Lawrence in the much-anticipated fourth film in the Lokesh Cinematic Universe (LCU). The Malayalam star shared the news on his social media handles, confirming his role as “Twin Fish Walter,” a character first teased in a brief promo earlier this year.

Nivin Pauly Steps Into Lokesh’s Expanding World

Benz is directed by Bakkiyaraj Kannan, known for Remo (2014) and Sulthan (2021). This project is particularly significant because it is the first film in the LCU not directed by Lokesh Kanagaraj himself. Lokesh, however, remains closely involved as producer and creative supervisor, ensuring that the storyline fits seamlessly within the shared world established by Kaithi, Vikram, and Leo.

Raghava Lawrence headlines the film as the titular Benz, while Samyuktha has been cast in a key role. Fans have been speculating about the dynamic between Lawrence and Nivin Pauly’s characters, especially after early reports suggested that Walter may serve as the film’s antagonist.

Director Bakkiyaraj Kannan has spoken about the decision to bring in Nivin Pauly from the Malayalam industry, noting that actors from different regions bring “a unique energy and identity” to a story like Benz. This creative choice also reflects the LCU’s ongoing expansion beyond Tamil cinema, inviting a larger South Indian audience into its orbit.

Power Team Behind the Camera

Benz features a strong technical lineup. Music is by Sai Abhyankkar, marking his first major Tamil film score. Goutham George is in charge of cinematography, while Philomin Raj handles the editing. The art direction is led by Jacki, known for his detailed, realistic set designs.

The film is jointly produced by Lokesh Kanagaraj, Sudhan Sundaram, and Jagadish Palanisamy under the Passion Studios, G Squad, and The Route banners. Pradeep Boopathi serves as creative producer. Production began in Chennai in May 2025, with the initial schedule wrapping up in early June.

What makes Benz particularly exciting is its placement within the larger LCU timeline. While official plot details are being kept secret, industry buzz suggests that the story may connect to events that unfolded in Vikram and Leo, continuing Lokesh’s tradition of linking characters and storylines across multiple films.

Reports have also hinted at a special appearance by actor Ravi Mohan, who is expected to play an important supporting role. With its powerhouse cast and cross-industry collaborations, Benz appears ready to push the boundaries of the LCU further than ever before.

For fans, this film marks the beginning of a new phase for the cinematic universe, one where Lokesh Kanagaraj steps back from directing to guide the storytelling vision from behind the scenes.

Also Read: Dear Students Teaser: Nivin Pauly and Nayanthara Head Back to School

0 comments
0 FacebookTwitterPinterestEmail
Venice 2025: 'The Testament of Ann Lee' is a Cinematic Revelation
Hollywood

Venice 2025: ‘The Testament of Ann Lee’ is a Cinematic Revelation

by jummy84
written by jummy84

Venice 2025: ‘The Testament of Ann Lee’ is a Cinematic Revelation

by Alex Billington
September 1, 2025

The exhilaration of majestic cinema once again at the Venice Film Festival. Following last year’s masterful The Brutalist (here is my 10/10 review), filmmakers Brady Corbet and Mona Fastvold are back again at Venice this year with their latest work. The Testament of Ann Lee is the third feature film directed by Norwegian filmmaker and actress Mona Fastvold, who is married to Brady Corbet. They co-wrote both of these films together and this one is also shot on film just like The Brutalist, and they both worked with the truly one-of-a-kind composer Daniel Blumberg to create the scores for both of these films. Other than that, these films couldn’t be more different. The Testament of Ann Lee is actually a musical, featuring a few truly transcendent, mystical musical sequences of dancing through the forest and around their land. It’s the story of a religious leader and the creation of the religion she believed in, known as the Shakers, but it’s also the story of emancipation and escape and freedom from oppression. Unquestionably of the best films of the year – it’s extraordinary in every single way that cinema can be extraordinary. I need this soundtrack to listen to.

The Testament of Ann Lee, also known as simply Ann Lee, is the story of a real woman named Ann Lee – starring Amanda Seyfried in the lead role as this woman. Born in Manchester, England in 1736 during a time of the Evangelical revival in England, she married young and became pregnant. After 4 pregnancies, all of her children died before they turned 1 year old and this destroyed her. After this experience she turned to religion, helping create what is now known as the the Shaker Movement, preaching about the second coming of Christ as a woman – she came to be called Mother Ann. They were initially known as “Shaking Quakers” because of their ecstatic behavior during worship services. After being attacked by the English church at the time, her followers packed up and got on a ship and headed to the new colonies – America. There they settle in and establish a new home on a plot of land they find by taking a boat up the Hudson River. Of course it is a story about someone creating a religion out of completely made up beliefs (let’s be honest), however it’s also about a woman breaking free from the the shackles of the dominant religion and creating a new series of rules & ideas to live by – some of which were quite utopian & beautiful, including a love for the land and equality among all people of all kinds. It shares her life’s story in such a uniquely magical, transcendent way.

Ultimately this film isn’t really about religion or cults or how to get people to believe in nonsense. The story presented includes these things happening, but that’s not really the deeper meaning of this film. As someone who usually despises films about religion, I was delightfully lost in how much this is anything but. There are even moments where it seems Mother Ann herself (or at least Amanda Seyfried as Mother Ann) knows she’s spouting complete bullshit, but it doesn’t matter, because her whole point is staying true to the dogma of her Shaker religion – namely rejecting marriage and sex and so on. For obvious reasons – considering her early life at the time. At first, Ann Lee’s divine decision to create this religion is more of an of-the-times-she’s-in example of fabricating something to allow her to escape the patriarchal, misogynistic hell (of being forced to pop out babies) she was living in England at time. This was right around when a group of people fled to a new land to create what is now America to escape English religious persecution, so it makes sense she would try this, too. Eventually it also becomes a tale of how America is a rotten place as well. Aside from all of the slavery and racism and violence, she soon learns how much Americans (even in the late 1700s) actually hate others and don’t really want anyone else to be able to practice their own religion(s). Especially one that goes against their own views and is as blasphemous as the Shakers with their belief that marriage and sex is bad.

All of these layers of commentary, even more beyond just these two aspects, are beautifully worked into this magnificent piece of art. And it’s so mesmerizing and enchanting to get totally lost in and swept away by all the magic (and music and singing) of this film. Right from the start with a haunting musical opening with women dancing through the forest, all the way across the Atlantic Ocean, right up to the final days of Ann Lee as her colony in Niskayuna grows and her religion spreads, this is an bewitching film that showcases all of what makes cinema so special. It’s fun and clever and cinematically exciting. It’s about more than what it seems to be about. It’s carefully crafted, enhanced by the storytelling choices. As with The Brutalist, you can tell every single person involved in making this is fully in sync with the vision & the artistry of the filmmaker and everyone gave it their all to make this so magical. Best of all, Amanda Seyfried is absolutely outstanding leading the film preaching a best-of-her-career performance. Her complete devotion to this character, to the performance, to delivering emotion from the depths of her soul to make it believable, is astonishing and she absolutely deserves all the awards & accolades coming her way. She’s matched by supporting turns from Lewis Pullman, Thomasin McKenzie, David Cale (my favorite character), and Christopher Abbott.

Aside from the enchanting cinematography (shot by DP William Rexer on film) and wonderfully accurate period costumes & sets and all of the riveting performances, the music in this also swept me off my feet. All of the songs are incredible. Which I was not expecting, especially based on this story. And that score, THAT SCORE my goodness, Daniel Blumberg is quickly becoming one of my favorite composers up there with Göransson and Zimmer and Desplat. I cant wait to get a copy of this soundtrack. Of course all of the musical numbers are inspired by real Shaker hymns and chants, infused with modern composition. It’s a musical that doesn’t really feel like a musical, which is not an easy thing to accomplish. The musical numbers are integrated right into each scene as if this what the Shakers would be doing at this moment anyway right in the middle of their work day, dancing as part of their daily chores & religious activities. This film absolutely deserves its place in cinema history alongside The Brutalist. These films are two defining modern cinematic experiences and I believe we’ll still be talking about both of them, and both filmmakers, for decades to come.

Alex’s Venice 2025 Rating: 9.5 out of 10
Follow Alex on Twitter – @firstshowing / Or Letterboxd – @firstshowing

Share

Find more posts in: Review, Venice 25

0 comments
0 FacebookTwitterPinterestEmail
Mansi Bagla Birthday
Bollywood

Forensic to AKG, Mansi Bagla continues her bold cinematic journey

by jummy84
written by jummy84

In an era where filmmakers and producers lean towards films for audience, box office performance, and commercial advantages, Mansi Bagla is solely emphasising emotions, thrill, and purely impact-driven storylines that justify the audience’s intent to visit the theatres or press play on OTT platforms. Though she makes selective choices of films to produce, she breathes life into novel plots, offers opportunities to fresh talent, and serves something entirely different for the audiences to remember.

Mansi Bagla, Producer, Creator Drive to Back Films That Make Noise

In 2022, Mansi produced Forensic, an engaging thriller that keeps you on the edge of your seat with each twist & turn and suspense. While many would expect a female producer to play it safe with predictable plots, Mansi proved that she’s not someone who’d like to walk that path. Through her own banner, Mini Films, she backed a film that got the audience tingling about thrilling plots. At times when predictable romances and actioners were dominating the screens, viewers found Forensic as a breath of fresh air. Earlier, the term ‘forensic’ was widely used in CID, but after the release of the Vikrant Massey starrer, it received wide acceptance among the audience.

Things were never easy for Mansi Bagla, but she kept defying the odds. From humble beginnings as a homemaker to stepping into films as a producer, backing an unpredictable film like Forensic and getting a production banner named after her nickname ‘Mini’, Mansi has come far as a professional filmmaker without any Godfather or industry support. Further, she has also carved her space in the fashion world by walking the ramp for Neeta Lulla and Shaina NC at the well-known Bombay Times Fashion Week. Despite gaining prominence as a mindful producer and creator and establishing her mettle, Mansi chooses to stay away from the camera flashes, and instead, she likes to dedicate herself to the religion of art – Films.

In the current era, where the essence of love is fading away and the new generation is finding it challenging to understand the precious feeling, Mansi returned to the screens with her latest release, Aankhon Ki Gustaakhiyan, as its creator and writer. Through Mini Films, she wrote and backed a musical love story purely layered with emotions, heart, life, longing, and focused on the thin line between love and romance. When filmmakers latched onto the trend of massy projects and unbelievably larger-than-life spectacles, Mansi Bagla cleared the air by tapping into something deep and realistic – emotions. She eliminated the extra drama and fuss and bankrolled a film that simply made the viewers feel.

She took the bold step by launching fresh face Shanaya Kapoor and pairing her with the dynamic star, Vikrant Massey. A risky combination at first – but the positive reception proved that the risk paid off! When producers were thinking twice to create love stories due to box-office volatility, Mansi proved that well-written and well-executed love stories pay off! After seeing that audiences are returning to the theatres to experience love the Bollywood way, many filmmakers are now walking on the path – with a string of romantic spectacles already released and many in the pipeline. Going by the changing times and the return of romance to the screens, it’d be safe to say that Mansi Bagla bridged the mindset gap.

Thrillers make the audience stay curious about films, and romances unite people. Considering that Mansi Bagla has tapped into both spaces, she’s proven that she understands the language of the new-age audience and is keen on being the creative mind behind films that speak volumes. On the workfront, Mansi has an interesting pipeline or work coming up next. Currently, she is working on scripts and polishing them to ignite the screens once again!

For more news and updates from the entertainment world, stay tuned to Bollywood Bubble.

ALSO READ: Mansi Bagla To Zoya Akhtar, 5 Producers Who Are Backing Musical Dramas

0 comments
0 FacebookTwitterPinterestEmail
Evan Ser's Debut Single is a Cinematic Ode to Sydney Sweeney
Hollywood

Evan Ser’s Debut Single is a Cinematic Ode to Sydney Sweeney

by jummy84
written by jummy84

Get ready for a track that’s as captivating as the silver screen itself. Rising music creator Evan Ser is making his official debut with the highly anticipated single, “My Muse I Can’t Defend,” set to drop on September 4th. This isn’t just another song, it’s a deeply personal and beautifully crafted piece of art, inspired by one of Hollywood’s most talked-about actresses, Sydney Sweeney.

What makes this song so unique is its origin story. Evan Ser, a new voice on the scene, wrote the track from a poignant and heartfelt perspective: that of a first-time film director. The lyrics tell the tale of a professional admiration that blossoms into a silent, unspoken affection for his lead actress. It’s a narrative of unexpressed feelings, a testament to the quiet boundaries we maintain in professional spaces, even when an undeniable connection exists. It’s the kind of story that feels ripped from a screenplay, and now, it has its own powerful soundtrack.

To bring this vision to life, Ser collaborated with the talented Racoon3Eyes, whose rich vocals add a layer of raw emotion and authenticity to the song. The fusion of Ser’s poetic lyricism and Racoon3Eyes’ soulful delivery creates an unforgettable listening experience that will resonate with anyone who has ever had a secret crush.

For Ser, this project is more than just a debut, it’s a dream. He hopes the song will travel across the world, connecting with listeners who understand the complexities of unspoken emotions. His ultimate goal? For the song to one day reach the ears of its inspiration, Sydney Sweeney, and maybe, just maybe, be turned into a full-blown cinematic music video with her as the star. It’s a bold vision, but given Sydney Sweeney’s track record of diverse collaborations, from major campaigns with American Eagle and Kérastase to her recent partnerships with Dr. Squatch, it’s clear she’s a star who appreciates creative and unexpected projects.

Don’t miss out on this poetic and heartfelt debut. Be one of the first to hear the story unfold by pre-saving “My Muse I Can’t Defend” on Spotify right now. The countdown is on until the official release on September 4th.

0 comments
0 FacebookTwitterPinterestEmail
Ek Chatur Naar Teaser Just Dropped — Get Ready For A Cinematic Treat Starring Neil Nitin Mukesh And Divya Khossla | Glamsham.com
Bollywood

Ek Chatur Naar Teaser Just Dropped — Get Ready For A Cinematic Treat Starring Neil Nitin Mukesh And Divya Khossla | Glamsham.com

by jummy84
written by jummy84

The highly awaited official teaser of the forthcoming movie Ek Chatur Naar has been released, giving viewers a thrilling preview of what is set to be an enthralling movie experience. With a star-studded cast of talented actors, the movie is already creating some buzz before its release on the big screen.

Star-Studded Cast Brings the Story to Life

Ek Chatur Naar has an impressive cast of actors, such as Divya Khossla Kumar, Neil Nitin Mukesh, Chhaya Kadam, Sushant Singh, Rajneish Duggal, Zakir Hussain, Yashpal Sharma, Heli Daruwala, Rose Sardana, and Geeta Agarwal Sharma. Their diverse acting skills are likely to give depth and color to the narrative of the film, ensuring that it is a must-see for all Indian film lovers.

Presented by T-Series
Produced by Merry Go Round Studios
The movie is produced by Merry Go Round Studios, a company known for good storytelling, and is being presented by the well-known music and movie production company T-Series. This association guarantees excellent production values and a good musical quotient, making the film even more attractive.

Also Read: Chaal Anek, Chatur Sirf Ek: Ek Chatur Naar Set to Bring Twists starring Divya Khossla and Neil Nitin Mukesh Release Date Announced

Release Date and Expectations

Ek Chatur Naar is set to release in theatres on 12th September 2025, with the teaser already putting high expectations for a captivating and entertaining tale. The movie seeks to win over hearts with its fascinating plot and outstanding performances.

Movie lovers and fans are invited to check out the official teaser and put the day of the movie’s release this year on their calendars.

0 comments
0 FacebookTwitterPinterestEmail