Literary film – Litary Wed, 28 Sep 2022 05:42:05 +0000 en-US hourly 1 Literary film – Litary 32 32 The animated film adaptation of the 12th century poem “The Knight in the Tiger’s Skin” will be released at the Laemmle Theater Tue, 27 Sep 2022 20:59:01 +0000

A new animated film “The Knight in Tiger Skin” by Mirza Davitaia of GI-Films will be released at the Laemmle Theater on October 7, 2022. It is the first adaptation of Shota Rustaveli’s medieval poem.

The poem “The Knight in the Panther’s Skin” is one of the greatest pieces of world literature and is considered by many historians to be one of the most important poems in the history of medieval literature.

“I am a visual artist and filmmaker who moved from Eastern Europe to the United States eight years ago. I come from a very ancient and unique culture. For centuries, Georgia has been at the crossroads of civilizations and has been influenced by the East as well as the West. Many compelling stories originated in the Caucasus region and are still waiting to be discovered by Western audiences,” says writer and director Mirza Davitaia .

“Some scholars have suggested that Rustaveli’s poem ‘The Knight in Panther’s Skin’ as well as Gorgani’s ‘Vis and Ramin’ may have influenced the legend of Tristan and Iseult and even Romeo and Juliet.

“My mission is to bring this incredible story to a wider audience. Even so, I have changed many things to make it more relevant to a contemporary audience, the main plot remains the same as in the poem.”

The film was made with an experimental approach by combining rotoscope, traditional 2D and 3D animation techniques.

Mirza Davitaia is a filmmaker who has been writing, directing and producing animated and live-action films since 1993.

In 2016, Mirza created the graphic novel “The Knight in the Tiger’s Skin” (AKA Prince of India). The book was published by top Georgian publisher “Artanuji” and was nominated by the Georgian public broadcaster as the best literary work of 2016 for the “Best of the Year Award”.

In previous years, Mirza has produced and written several live-action films, including 2021’s ‘The Narrow Bridge’, 2020’s ‘The Last Fortress’ and 2019’s ‘Anton’ which was directed by the Oscar winner and the Golden Globe-nominated director, Zaza Urushadze. In 2010, Mirza produced an action thriller “5 Days of War” starring Andy Garcia, Rupert Friend, Val Kilmer and other top Hollywood actors. In 2013, he co-produced a comedy “Jacky in Women’s Kingdom”, with Charlotte Gainsbourg and Michel Hazanavicius.

Mirza Davitaia was born and raised in Georgia. Between 2004 and 2012, he was a Member of Parliament, Chairman of the Parliamentary Committee, Deputy Minister of Culture and Protection of Monuments, as well as Minister of State for Diaspora Issues.

From 1992 to 2000, Mirza studied animation, illustration, graphic design and fine art at the fine arts academies of Tbilisi, Georgia and Nuremberg, Germany.

Link to the trailer: “The Knight in the Tiger Skin” – Trailer – YouTube –

Learn more about GI-Films at:

Tickets:®id=9& BWW2022&utm_medium=referral&utm_campaign=article&utm_content=bottombuybutton1

Vikram Vedha box office prediction: Hrithik-Saif movie to replace Ponniyin Selvan 1 in North, set to open at Rs 15 cr on day one Tue, 27 Sep 2022 11:05:49 +0000 The audience showed up for Ranbir Kapoor’s Alia Bhatt and Brahmastra, giving a bollywood under siege a little hope. The question now is whether they will again vote with their feet for Vikram Vedha by Hrithik Roshan and Saif Ali Khan and Mani Ratnam Ponniyin Selvan 1 this Friday. Film pundits are confident that this week’s releases will bring in big bucks at box offices, but in their respective markets, Vikram Vedha in the North and Ponniyin Selvan 1 in the South.

What puts Vikram Vedha above Ponniyin Selvan 1 in the northern circuit are its lead actors, Hrithik and Saif, who have greater appeal to Hindi-speaking audiences. Film exponent Akshaye Rathi noted: “Hrithik is the last real blue superstar we had in hindi cinema fraternity. There is a possible audience that comes to cinemas just because Hrithik’s face is on the bill. This does not happen to the young actors who followed him. His presence in the film and his arrival on the big screen right after War almost four years ago is certainly something most people are excited about.

If things go as film trade pundits expect, we’re looking at a Rs 15 crore opening for Vikram Veda. But film producer and trade expert Girish Johar thinks that number could very easily have been Rs 20 crore if the makers had come up with a better marketing strategy. He said, “I thought Vikram Veda’s promotions would be going full steam ahead, but the marketing push is a bit below expectation. Advance reservations are a bit above average, but nothing out of the ordinary. However, he is “optimistic” about a good collection for the first day of the film.

Compared to Vikram Vedha, Ponniyin Selvan 1 doesn’t have as much buzz in the North although it is planning a “historic” opening to the South. Akshaye Rathi felt that the film was not of interest to northerners because “it is a historical piece of Tamil literature. It is a story that all children in Tamil Nadu know.

He said that Ponniyin Selvan is one of iconic works of Tamil literature. But, in his opinion, “both movies should work really well to bring joy to the movie industry.” According to Girish Johar, Ponniyin Selvan 1 could open at around Rs 2 crore in Hindi-speaking states.

One factor that will help both Vikram Vedha and Ponniyin Selvan 1 to hit the bucks is reduced ticket prices, courtesy shows during the National Cinema Day celebration. Cinema tickets were priced at Rs 75 across all cinema chains to celebrate national cinema day. Rathi said, “The price in cinemas is not what it was for National Cinema Day, but it has been kept very reasonable to make it accessible to the widest possible audience. These are the factors that will allow Vikram Vedha and Ponniyin Selvan 1 to do extremely well.

Girish Johar added, “After the celebration of National Cinema Day, ticket prices have been reduced by 10-15%. I think it gave exhibitors a certain feeling that you can’t charge more and that you have to be realistic in the field. Now, after the success of Brahmastra, this weekend’s box office result will give a clearer picture of the mood of moviegoers nationwide.

Waste Wrapping Films Market Trends 2022 and Key Players Analysis 2028 – Trioplast, Coveris Holdings, Reo-Pack, Cross Wrap – The Colby Echo News Mon, 26 Sep 2022 05:17:36 +0000

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Slow-Motion Crime Thriller Smells Boredom E! News UK Mon, 26 Sep 2022 04:59:12 +0000

Language: German with audio options and English subtitles

A cop desperate to regain his sense of smell is ready to take the help of a mysterious perfumer, whose obsession with creating the perfect perfume will drive him to any extreme. Writer-director Nils Willbrandt’s German thriller, titled Der Parfumeur in the original language, is inspired by Patrick Suskind’s classic fantasy novel Perfume: The Story Of A Murderer, which has already seen several adaptations on big and small screens, including Tom Tykwer’s 2006 psychological thriller of the same name and the 2018 streaming series Perfume starring Friederike Becht.

Willbrandt and co-writer Kim Zimmermann drew more directly from the 2018 series than from Suskind’s novel. Since Le Parfumeur tells more or less the same story in 96 minutes as the series did with a lot more nuance over six episodes, you wonder if the film was necessary and, more importantly, why was it dropped on the same OTT platform where the series is available in India.

The challenge for a filmmaker adapting a novel is often to judge how much of the book’s tone he should retain for the screen and how far he should stray from it to create an idiom suitable for the visual medium. Suskind’s original work had a deeply introspective tone, with character-defining psychological undercurrents and suspenseful drama. This would have made exact reproduction on film difficult. While Parfum the series used its many runtime episodes to impressively explore the idea of ​​the story, Le Parfumeur is far less notable as it contains a half-baked plot and unconvincing protagonists in its execution. The film fails to recreate the gripping dark vibes of the source material and struggles to balance suspenseful drama with the raw emotions that underpinned the novel.

Willbrandt and Zimmermann also try to add novelty by looking at the heavily filmed story through the gaze of the protagonist cop rather than the perspective of the antagonistic perfumer. The idea boomerangs because it robs the story of its sinister side, which was to unravel the mind of a master criminal. While the screenwriting duo focuses too much on the police detective, who appears in the film simply as Sunny, the titular perfumer is left behind.

A serial killer is on the loose and Sunny (Emilia Schule) is solving the case as she doesn’t mope about her anosmia, which is so acute she can swallow a tall glass of sugar-laden schnapps extra, strawberries and tangerine in one sip without feeling anything. Sunny’s love life isn’t happy either. She has an affair with her colleague Juro (Robert Finster), a married man with two children. Probably because the original story is only too well known, the scenario avoids wasting a lot of time revealing the identity of the killer, which, in any case, is not the point of the story. The culprit is a young perfumer named Dorian (Ludwig Simon) and the murders are rooted in his obsession with procuring raw materials to create the perfect perfume. Sunny is drawn into the dark world of Dorian when she discovers his amazing talent. She begins to realize that he might be her only hope of regaining her lost sense of smell.

The films start off on an interesting note before losing the audience’s attention due to slow storytelling. The lack of urgency is a major setback because it means you invariably start to figure out most plot twists long before they actually happen. Sunny becomes pregnant at one point, for example, and the resulting turn of events is hardly surprising. The lazy pacing also affects attempts to return an emotional core to the story because boredom outweighs any intention to infuse sensibility. Sunny’s soliloquy about a baby’s scent being a form of chemical communication between mother and child is meant to convey to you her sadness at not being able to connect with the child when it’s born. Instead, lackluster dialogue and scene execution leave you indifferent.

Willbrandt and Zimmermann actually exaggerated the use of soliloquies. Throughout the film, Sunny is constantly in first-person voice-over mode, spelling out details about her state of mind, her observation of things, mostly talking to her unborn child. The idea was perhaps to capture the introspective structure of the novel. The bursts of storytelling, however, only serve to prevent continued plot movement, which would be necessary to maintain audience interest.

The Perfumer also wants to be in love, because Sunny is constantly looking for a sense of belonging to escape her innate loneliness. We learn that she had a neglected childhood, the psychological impact of which explains her loss of smell. Somehow, she also subconsciously blames her sensory deficiency for the failures in her love life. Dorian, too, is in search of the essence of love because he is convinced that love in its purest form is the only ingredient that can bring the perfect perfume to life. The emotional play triggered by these characters could have added to the drama, but the script fails to create a single poignant moment using them.

The essentially fantasy tale has an element of magic about it. Dorian talks about cedarwood, ammonia, oxblood, and thyme as important ingredients in creating his dream scent. He can smell Sunny’s pregnancy week correctly and talks about six basic scents in the world and how all the scents that exist are basically combinations of these. Yet Willbrandt’s direction fails to bring this enchanting aspect of the story to life. The mood darkens a few shades after the halfway point, but the narrative just can’t shake the boredom. There is no smoldering impact from being lifeless, such directorial execution only affects characterization. In turn, almost all the actors look annoyed with everything that’s going on.

“Smells are feelings, memories,” Dorian tells Sunny as his olfactory senses feel nothing. The movie has that kind of impact on all of your senses. It doesn’t let you feel anything.

Rating: * * (two stars)

Vinayak Chakravorty is a Delhi-NCR based film critic, columnist and journalist.

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Pattaya rekindles decade-long quest for UNESCO ‘City of Film’ honor Sun, 25 Sep 2022 08:07:29 +0000
Pattaya Mayor Poramet Ngampichet has reignited a decade-old quest to win the UNESCO “City of Film” designation.

The mayor of Pattaya has reignited a decade-old quest to win the United Nations city ​​of cinemadesignation.

Poramet Ngampichet said on September 23 that the National Office of Contemporary Art and Culture had submitted Pattaya’s application to join the UNESCO Creative Cities Network as a “City of Film”, a project that started under former mayor Itthiphol Kunplome in 2012.

Cinema is one of seven categories established by the UNESCO Network of Cultural Cities to reward “centres of excellence” in literature, music, crafts and folk arts, design, media arts, gastronomy and cinema. UNESCO states that a film city must have “notable infrastructure related to filmmaking”, such as film studios; “notable connections to film production, distribution and marketing” and “cinematic heritage”, such as archives, museums and private collections

Currently, there are only two film cities: Bradford, England and Sydney, Australia.

Pattaya held two hearings on the idea a decade ago, during which experts popped Itthiphol’s balloon, telling him that Pattaya was nowhere near meeting UNESCO qualifications.

Burapha University consultant Priyaporn Sukhsakul told city officials in 2012 that Pattaya needed to create an acceptable image for the film industry. Simply claiming the city is Thailand’s top tourist destination was not enough for UNESCO when Pattaya officials unsuccessfully applied in 2011.

Other strategies include providing necessary facilities for the film industry, as well as repairing basics, such as city utilities.

The beauty of the islands and beaches of Pattaya and the surrounding islands are ideal for filming locations.

Pattaya, she said, should also provide and support film education, persuade the Thai film industry to make Pattaya its base for filming, script development and international film festivals. Finally, Piyaporn said, the city needed to work together to move the proposals forward by 2018.

Virtually nothing was done in the decade that followed, although Poramet argued that Pattaya’s film industry infrastructure was now stronger.

He said there were around 300 applications this year to use Pattaya as a filming location. The city also has a total of 35 cinemas and movie theaters. He added that Pattaya is the hub of commerce and tourism in the eastern region of Thailand and has a strong infrastructure to support the film industry. In addition, the landscape and the beauty of the sea and the beaches are incomparable.

Poramet said Pattaya has signed an agreement with the government to pursue the designation of the city of film with the cooperation of 12 relevant organizations within 5 years.

Ernie Hudson would like a Ghostbusters movie to take place in India Sat, 24 Sep 2022 18:22:28 +0000

Earlier this year we wrote about Phone Bhootan upcoming Indian Hindi-language horror film that will be released next month that has drawn some comparisons to ghost hunters thanks to a poster design that appears to have been heavily inspired by the Bill Murray-led 1984 comedy, as well as the 2016 reboot.

While researching this article, it was a bit surprising to remember once again that there was no Bollywood version yet on ghost huntersespecially considering the long list of Hollywood blockbusters that have been remade in India, with examples such as Home alone, Superman, and more recently Forrest Gump.

With Ghostbusters: Afterlife Scheduled for Indian audiences on English Movie Channel & Flix later this week, star Ernie Hudson has made the rounds in the media, as a new interview with India today sees Hudson talk not just about wanting to make a Hindi film, but about the possibility of one ghost hunters located in India.

“I would so love to be in a Hindi movie. I would love to come to India first. We see things in movies and read about it in literature. But to experience it first hand…and I don’t haven’t had the opportunity to come to India yet and to have the honor of working in an Indian film would be something I would absolutely love. I still hope and the possibility is still there. I would love to do a new Ghostbusters game in India.

Hudson also explained how much his character, Winston Zeddemore, changed between the events of the 1984 film and Ghostbusters: Afterlifesaying:

“He got older, he stopped being a ghost hunter… He became a successful businessman, but he loves being a ghost hunter. In the movie, when the world is threatened, he puts on the jumpsuit and comes back there.

Speaking of putting on the jumpsuit, Hudson also recounted the touching moment of being on set again with comedy legends Dan Aykroyd and Bill Murray, mentioning that he was not only honored, but the moment had him. left emotional.

“For me, I had reached a point where I wasn’t sure they would do another Ghostbusters movie and when Jason Reitman sent me the script, I was really excited. Once I got there, I put on the jumpsuit and saw Bill Murray, Dan Aykroyd, I felt very moved and honored to visit the people I love and respect and having the chance to do another Ghostbusters was very exciting .

Ghostbusters: Afterlife will air on &flix and Zee channels on September 25th.

]]> ttff/22 Banyan Retrospective: A celebration of local film and television pioneers Fri, 23 Sep 2022 19:36:11 +0000

When Trinbagonians of a certain age hear of Banyan, the following memories come to mind – AVM, Sprangalang, Gayelle, Cross Country.

As they remember, some even begin to sing:
“I am free and free,
Just follow me
And you will see, you and me,
It’s so good to be
Free and free…”

Sung by Oliver Chapman, this simple melody was the theme to the popular Trinidad and
Tobago Television’s docu-series “Cross Country”, throwback to the 80s. It is important for us to
recognize these early local film and television products as relevant to the development of

the trinidad+tobago film festival (ttff/22) fully embraces this concept. His theme #Seeyuhself
reflects, among other things, the pioneering work of Banyan Productions and its founders.
Presented with the support of The National Gas Company of Trindad and Tobago Limited
(NGC), ttff/22 celebrates Banyan in this year’s retrospective.

Pat Ganase wrote,
“Imagine the 1970s… There is a new Trinidadian who has come a long way. Not only doctors and lawyers, they return to teach, and teach through other media: literature, publishing, audiovisual and cinema, theater and mas, arts. Enter Suzanne and Hugh Robertson, Tony Hall, Christopher Laird, Peter Minshall, the wives of Trini with
their husbands, Trini husbands with their wives.

Ganase described how natural it was for Tony Hall to look to Banyan as a vehicle to access a Caribbean
street theater and declared it the talent that has shaped and informed many Banyan productions.
Unquestionably, many of our local TV and movie veterans can be considered “Banyan’s children.” Read Ganase’s full article on Banyan from page 9 of the ttff/22 printed guide

The retrospective program is a central part of ttff/22 and runs from September 22-28. It includes several events that take place at NALIS on Hart and Abercromby Streets, Port of Spain. These include screenings of some of Banyan’s most important television works; a ttff conversation with Dr Bruce Paddington and Christopher Laird; and an exhibition of photos, memorabilia and more at the Rotonde de NALIS – all of which are free and open to the public.

For more information see your ttff/22 festival guide or visit

Cinema has the potential to change the economy Fri, 23 Sep 2022 12:35:56 +0000

The cultural and creative industries (CCI) globally have the capacity to contribute to sustainable economic development and the creation of jobs as a result. The Vision 2030 master plan recognizes the role of CCIs in contributing significantly to the gross domestic product of the country.

The film sector is a cardinal aspect of the CCI industry and, if properly harnessed, can offer an alternative to the traditional pillars of economic growth. Traditionally in Zimbabwe, the pillars of economic growth have been mining, manufacturing, agriculture and tourism. The film sector can be a catalyst for economic growth if harnessed properly, but it will take time, investment, budgeting, planning and coordination.

It is therefore commendable that the Government of Zimbabwe has developed the National Cultural and Creative Industries Strategy Paper (2020-2030). The document itself has 10 pillars from which CCI must grow.

That said, let me hasten to say that the potential of the film industry must be based on an empirical, scientific and economic perspective. It is important to analyze the history of the film industry in Zimbabwe and the reasons for its failure or success and draw lessons on how it can be developed.

Likewise, it is useful to learn lessons from other countries such as South Africa and Nigeria, which have thriving film industries. The models used in these countries cannot simply be copied and pasted from our very unique and different societal experiences, but can help shape our film industry from development through production, distribution, exhibition and marketing.

The 2021 Unesco report on trends, opportunities and challenges in the African film industry provides interesting empirical data on the state of the film industry in Africa. The report also contains country-specific profiles on 54 African states as it sets out to map the state of the audiovisual and film industry in Africa.

It is clear however that there is not enough data and literature to give an accurate baseline of the film industry in Zimbabwe. In a positive vein, there are currently attempts to formulate a film strategy and map out the various industry stakeholders.

This is a good starting point because in the absence of empirical data and analysis, it becomes difficult to draw an economic and commercial roadmap for cinema as a contributor to economic development.

Nyasha Mboti contributed to a general body of knowledge on the film industry with her article on the state of the film industry in Zimbabwe (2014). Mboti poses key questions on the issue of the Zimbabwean film industry such as: Is the local film industry producing enough volumes to satisfy the country’s population? ; Do films made by local filmmakers reach the target audience? ; and does money make movies and by whom?

These questions posed by the researcher are key to unlocking and liberating the film industry in Zimbabwe. If the film industry cannot generate profit for the filmmakers, then it ceases to be an industry because the industry involves a complex ecosystem of activities and products that contribute to the well-being of people.

Relevantly, the CCI national document defines creative industries as industries that have their origin in individual creativity, skills and talents with potential for wealth and job creation. This definition attaches particular importance to the potential for the creation of wealth and jobs. It is therefore imperative that we frame our definition of the film industry in the prism of all activities and products that have the capacity or potential to create wealth and employment.

The capacity or ability of the film industry to grow, generate wealth and employment is based on a number of factors, chief among which is the imperative for sustainable funding and investment.

Funding and Funding

The Achilles heel of the growth of the film sector in Zimbabwe is the lack of funding, investment and structured finance. Mboti notes that in the period between 1980 and 1990, there was a visible government footprint in film funding.

He notes that the Government of Zimbabwe, through the Ministry of Information, has actively marketed Zimbabwe as a setting for Hollywood films, resulting in no less than six international productions, including King Solomon’s Mines, A World Apart, etc., made in Zimbabwe.

The government of Zimbabwe invested approximately US$5.5 million in the film Cry Freedom, which starred Denzel Washington. Unfortunately, the government did not get a reasonable return on investment and subsequently the government footprint in the sector diminished.

Mboti says this has been accentuated by the introduction of trade liberalization and cost recovery economic models such as the Economic Structural Adjustment Program (Esap) which has led to a reduction in funding to non-essential sectors.

The growth of film industries in countries like South Africa is largely due to significant government funding for the film sector as well as organized institutional film funding.

The concept of Mzansi Golden Economies has seen the film sector being financed through tax incentives, rebates, subsidies and public funds.

The National Film and Video Foundation is an important player in film funding in South Africa, as is the Department of Trade, Industry and Competitions. It is estimated that over 30% of film funding comes from the government, with significant funding also received from the private sector.

The South African government has been successful in attracting huge investment from international production companies for co-productions with local companies and in doing so creating jobs and contributing to economic growth.

In the absence of institutionalized funding and film funding, the industry will not grow and the economy will not benefit from the vast potential of this sector to contribute to the expansion of the tax department. Notably, the National CCI Strategy recognizes finance, finance and investment as a key pillar for the growth of CCIs in Zimbabwe.

Manage extrinsic factors

A number of factors need to be taken into consideration if the film industry is to grow and all of these factors are taken from the Unesco Report on the African Film Industry (2021).

Importantly, the report states that less than 30% of Zimbabwe’s population has internet access. This will in turn affect the rate of digital adaptation and absorption of digital content by the population.

The cost of data and internet speed is also of great concern and will affect content creators who have potentially found an alternative distribution platform on YouTube and other platforms.

It is also worrying that the whole country, which has more than 15 million inhabitants, has only 13 screens. The Unesco report also notes that film culture in Zimbabwe has been eroded by the effects of a failing economy.

In Bulawayo, for example, there is not a single drive-in cinema while dozens of other cinemas have been converted into churches or shops.

We need to re-cultivate a film culture in Zimbabwe and cultivate family-friendly entertainment hubs.

Entertainment is a business, film content is a business, and creative industry infrastructure such as movie theaters are part of this ecosystem.

There is a silver lining in the clouds for the film industry in Zimbabwe, particularly the television component with six new companies having been granted licenses to operate television stations in recent years by the Authority of Zimbabwe Broadcasting.

The industry will grow but will take time, careful policy formulation backed by budget support, a framework to attract international production houses, skills, transfer of resources to local filmmakers supported by a film culture, construction ratings and technological adaptation.

Nkomo is a writer and producer of the film Ziyanda. He is the Managing Director of Ramatsatsi Productions, a local content production company

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New independent production company Leviathan to make Jewish stories for film and TV Thu, 22 Sep 2022 17:08:30 +0000

(JTA) – A new independent production company aims to “ensure Jewish tradition lives on” in television and film, as Jewish stories continue to be hot property in Hollywood.

Leviathan Productions will specialize in developing content based on Jewish history, literature and folk tales, as well as stories about Israel, Deadline reported. Leviathan is founded by Ben Cosgrove, a film and TV producer whose credits include Oscar-winning “Syriana” and the recent remake of “Black Christmas”; and Josh Foer, journalist and co-founder of the adventure travel brand Atlas Obscura as well as the online repository of Jewish texts Sefaria.

Foer is also one of the people behind a new “Jewish Tavern” in the Boston area, which, like the projects on the Leviathan dossier, aims to locate Jewish content in a space accessible to Jews and to non-Jews.

The company moved quickly to acquire a number of upcoming projects with Jewish themes, including planned adaptations of “Photography 51,” a play by Anna Ziegler about Rosalind Franklin, the British-Jewish chemist who played a pivotal role. in the discovery of the molecular structures of DNA. , RNA and viruses; “The Secret Chord,” a novel by Geraldine Brooks about King David; and “The Pledge,” a 1970 documentary book by Leonard Slater about the United States’ role in Israel’s 1948 War of Independence.

“Jewish stories have incredible resonance because they explore universally identifiable ideas,” Cosgrove told Deadline. “Everyone knows what it’s like to be the underdog, the foreigner or the immigrant. Jewish stories address these ideas with humor and drama, and people around the world see themselves in our stories.

The launch of Leviathan Productions comes shortly after the launch this summer of Reboot Studiosa Jewish entertainment fundraising initiative that bills itself as “The Sundance Labs of the Jewish World.”

Both projects are concurrent with a notable increase in Jewish content on major streaming platforms. Netflix is ​​preparing an American remake of its hit Israeli import “Shtisel”, in addition to an upcoming reality show, “Jewish Matchmaking”, both joining a series of Jewish-themed programs that include “The club,” “Heirs of the Earth”, “My Unorthodox Life”, “13: The Musical” and “The beauty queen of Jerusalem.”

Additionally, HBO Max is developing content based on Hasidic rapper Nissim Black and Chelm’s Yiddish Folktales; Hulu recently acquired the Israeli series “Hazarot” (Repetitions); Amazon recently produced “Yosi, the Regrettable Spy” in addition to her ongoing hit series “The Marvelous Mrs. Maisel”; Apple TV+’s Israeli spy series ‘Tehran’ is in its second season; and two recent European period dramas, “Ridley’s Road” on PBS and “Parisian Police 1900” on MHz boast strong Jewish themes.

Viola Davis’ film brings joy to African storytelling Wed, 21 Sep 2022 19:38:55 +0000