Category: Movies

123movies2d.com high quality movies online for free now? Liz Garbus’s grim Netflix drama is based on Robert Kolker’s powerfully empathetic book about the victims of a still-at-large Long Island serial killer believed to have butchered between 10 and 16 female sex workers — whose bodies lay for years on a stretch of Gilgo Beach. Garbus focuses on the conflict between a working-class mother (Amy Ryan) whose oldest daughter has disappeared and the Suffolk County Police — led by a grave, empty suit (Gabriel Byrne) — who don’t exactly put themselves out for missing “hookers.” The film lacks the scope of Kolker’s book, but in tracing a link between murderous misogyny and patriarchal indifference it leaves you bereft (Why aren’t they acting like committed TV cops?) and then outraged. It’s an anti-police procedural.

This low-budget debut feature is a UFO movie that takes time to achieve lift off. In addition to saddling the story with a mostly unnecessary framing device, which underlines the already obvious echoes of The Twilight Zone, director Andrew Patterson and the film’s writers open the 1950s New Mexico-set story with a handful of overly precious exchanges featuring the two main characters, chatty DJ Everett (Horowitz) and young switchboard operator Fay (McCormick). In the beginning, these two might get on your nerves. But once the movie locks them in place, tampering down the acrobatic camerawork and letting the sound design take control, the material finds a more natural rhythm, drawing on the hushed intimacy of old-fashioned radio drama. Like many of the best UFO yarns, The Vast of Night taps into a deep sense of yearning. Wanting to believe is half the battle.

Oz Perkins is a horror lyricist fixated on grief and female agency, and both factor heavily into his atmospheric reimagining of the classic fairy tale. In a countryside beset by an unknown plague, teenage Gretel (It’s Sophia Lillis) refuses to work as an old creepy man’s housekeeper, and is thus thrown out by her mother, forced to take her young brother Hansel (Sam Leakey) on a journey through the dark woods to a convent she has no interest in joining. Beset by hunger, the two come upon the home of a witch (Alice Krige), whose feasts are as mouth-watering as her magic lessons for Gretel are simultaneously empowering and unnerving. Perkins sticks relatively closely to his source material’s narrative while nonetheless reshaping it into a story about feminine might and autonomy, and the potential cost of acquiring both. Drenched in ageless, evil imagery (full of triangular pagan symbols, pointy-hatted silhouettes, and nocturnal mist), and boasting a trippiness that becomes hilariously literal at one point, Gretel & Hansel casts a spell that feels at once ancient and new. Find even more info on 123movies.

5KPlayer, the final entry on the list of recommended Windows media players, is a top-rated video player for Windows 10 as it’s extremely compatible. It claims to play almost all kinds of videos and music without any plug-ins, and it actually delivers. Its interface is very clean and simple. It’s also known for its more streaming options. 5KPlayer also lets you import videos and music from websites like YouTube, Facebook, Vimeo, MTV, etc. It goes without saying that it’s compatible with common formats like MP4, MOV, M4V, MP3, AAC, etc.

Despair, desire, and madness are all entangled in Josephine Decker’s Shirley, about the late horror writer Shirley Jackson’s (Elisabeth Moss) attempt to pen her sophomore novel Hangsaman while dealing with her unfaithful critic/professor husband Stanley Edgar Hyman (Michael Stuhlbarg) as well as two boarders, aspiring academic Fred (Logan Lerman) and his pregnant wife Rose (Odessa Young). The director’s follow-up to Madeline’s Madeline is a psychosexual affair about lost women driven crazy by callous, self-serving men, and their resultant fears and needs. As with her acclaimed debut, Decker’s latest recounts its action through expressionistic visuals—smeary, off-center compositions; intense close-ups; dreamy interludes in which fantasy and reality blend together—and a score of jangly, strident strings, rumbling bass and thunderstorm crashes. As the famed author behind The Lottery and The Haunting of Hill House, Moss radiates ferocity and instability, and she’s matched by Stuhlbarg as the creepy, codependent Hyman. It’s Young, however, who holds the hothouse material together as the self-actualizing Rose, whose journey mirrors that of the missing girl Jackson is writing about, and who serves as the beating heart of this slyly furious film. Read extra information at here.

Watch movies and read movie analysis today? Historical changes often have humble beginnings, as was the case with the American Disabilities Act (ADA), whose origin is Camp Jened, a 1970s summer getaway for disabled men and women in New York’s Catskill mountains. James LeBrecht and Nicole Newnham’s documentary is the story of that quietly revolutionary locale, where disrespected and marginalized handicapped kids were finally given an opportunity to simply be themselves, free from the judgement of those not like them. What it instilled in them was a sense of self-worth, as well as indignation at the lesser-than treatment they received from society. Led by the heroic Judy Heumann and many of her fellow Jened alums, a civil rights movement was born, resulting in the famous San Francisco sit-in to compel U.S. Secretary of Health, Education and Wellness Joseph Califano to sign Section 504 of 1973’s Rehabilitation Act, and later, the ADA. Intermingling copious footage of Camp Jened and the movement it produced with heartfelt interviews with some of its tale’s prime players, Crip Camp is a moving example of people fighting tooth-and-nail for the equality and respect they deserve – and, in the process, transforming the world.

The tony Pennsylvania prep school in which Tayarisha Poe’s nimble debut takes place might bring to mind mean-rich-kid chronicles like Cruel Intentions — but it has more in common with Rian Johnson’s 2005 baby-faced neo-noir Brick. Selah and the Spades is a teen drama in which the line between social clique and mob family feels incidental, taking place in a boarding-school bubble that’s enthralling and insular, privilege serving as a kind of leveling agent that makes day-to-day skirmishes for dominance the only thing that matters. And at the still center of this surprisingly tumultuous world is Selah (Lovie Simone), a character whose desire for a successor wars with her instinct to destroy anyone who challenges her place — even when it’s someone of her own choosing. It’s a compelling portrait of someone who, having made herself the queen of this limited kingdom, finds herself terrified of life when she leaves.

Driveways isn’t simply one of the late Brian Dennehy’s final performances—it’s also one of his finest. In Andre Ahn’s touching indie, Dennehy is Korean War vet Del, who comes to befriend socially awkward young Cody (Lucas Jaye) after the boy and his mother Kathy (Hong Chau) take up temporary residence next door, cleaning out the pigsty that used to belong to Kathy’s deceased sister. All three of these characters are suffering in their own distinct ways, due to a combination of loss, loneliness and fear, and Ahn (working from Hannah Bos and Paul Thureen’s precise script) intertwines their plights with few contrivances and a potent measure of empathy, especially once Del and Cody begin developing an unexpected bond. Be it Kathy going through her sister’s things and cleaning a bathtub soiled by a cat’s corpse, or Del caring for his VFW pal Roger (Jerry Adler), who’s slowly losing his mind, the specter of death—and the memories summoned up by the end of the road—looms large over the proceedings, culminating in a shattering Dennehy speech of irreparable sorrow. See even more information on honest movie reviews.

Whenever we start any discussion of the best media players and how great they are, the name VLC automatically comes at the top. But, why is it so? What’s the reason behind its massive popularity? VLC Media Player is a free and open-source media player that’s available for all popular platforms. Created by the VideoLAN project, VLC Media Player is known to support a vast number of audio and video compression methods and file formats. Over the years, VLC has earned the reputation of being the “play everything” video player. VLC is one of the best PC media players due to its fast and simple nature that doesn’t involve any painstaking steps. The software also features different customization options that can help you improve your viewing experience and change the look of the player. It’s also often used a streaming media player. This amazing Windows Media Player alternative also receives frequent updates and has a large user community. It runs on all Windows versions, from Windows 10 to Windows XP SP3. From time-to-time, this free movie player keeps receiving new features and updates. You can also check out our dedicated article on VLC tricks.

Choosing a movie to watch isn’t a fraught decision if you know who to trust. That’s the simple idea driving this list, which will be consistently updated and meticulously rearranged throughout the year. With some films getting their release days moved and others premiering early on VOD because of the ongoing global pandemic, this is already a strange, challenging year for the movie industry. But, like last year, we’ll still do our best to keep you in the loop on the explosion-filled blockbusters you can’t miss and the more intimate smaller films you must seek out. If it’s good, we want it on here. Discover more details on this website.

Download songs from Youtube to Mp3 with YoutubetoMp3? You enjoy watching and listening to music videos on YouTube. If only there was a way to listen to the audio portion offline. If you have the right tools, there is. Certain websites, software, and browser extensions can strip out the audio portion of any YouTube video and convert it to an MP3 file, which you can then save to your computer or mobile device. We’ve previously covered how to download YouTube content as video files. Here, we’ll focus on the task of downloading them as audio files.

If you’re looking for a fast, flexible YouTube to MP3 converter, this is the tool for you. You would be forgiven for judging Any Video Converter Free by its name and believing it to be a tool for converting from one video format to another. While this is part of what it can do, it can also be used to download videos from YouTube and save them as MP3s – exactly what we’re looking for!

Free YouTube to MP3 Converter is a wonderfully easy way to rip the audio from YouTube videos and save it to your PC in MP3 format. It works well on both Windows and Mac platforms. You’ll only need a couple of clicks to get started with this converter. In addition, the program has several handy options such as to skip downloading if the file already exists, save video thumbnails, add output audio files to a new iTunes playlist, have your computer shut down once a download is complete, paste URLs from the clipboard automatically, download via a proxy, etc. But it’s important to note, that the free version does not include the option to download an entire YouTube playlist or channel. If you are looking for the ability for bulk downloads, you need to upgrade to the paid Premium version of Free YouTube to MP3 Converter, which costs 69$ per user per year or 99$ per user for an unlimited period of time. Read extra information on Youtube MP3.

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Flixtor.one high quality tv shows free online right now? Hell hath no fury like a religious zealot scorned, as demonstrated by writer/director Rose Glass’ feature debut, which concerns a young hospice nurse named Maud (Morfydd Clark) who comes to believe that her mission from God – with whom she speaks, and feels inside her body – is to save the soul of her terminally ill new patient, famous dancer Amanda (Jennifer Ehle). What begins as a noble attempt to share pious belief and provide comfort for the sick swiftly turns deranged, as Maud is possessed by a mania impervious to reason, and enflamed by both the slights she receives from Amanda and others, and her own mortal failings. The sacred and the profane are knotted up inside this young woman, whom Clark embodies with a scary intensity that’s matched by Glass’ unsettling aesthetics, marked by topsy-turvy imagery and pulsating, crashing soundtrack strings. A horrorshow about the relationship between devoutness and insanity, it’s a nerve-rattling thriller that doubles as a sharp critique, punctuated by an incendiary final edit that won’t soon be forgotten.

Director Kitty Green’s scripted debut depicts a long day in the life of a low-level drone at an unnamed New York film studio not unlike the Weinstein Company. Jane (Julia Garner) takes calls and makes copy and scrubs the bodily fluids off the couch in her boss’ office, all with the same look of grim understanding that this is what she has to endure to get ahead in her dream industry. Spare and devastating, The Assistant serves up a portrait of an abusive workplace in which the behavior of the unseen man at its head trickles down to inform the power dynamics and behavior of the rest of the company. That includes HR, to which Jane pays a visit in a brutal centerpiece scene that emphasizes what it’s like when the only choices open seem to be to become complicit or to give up.

The systemic culture of indifference and cruelty that often forms around a powerful serial abuser gets put under the microscope in this studiously observed New York office drama, which draws inspiration from the behavior of Harvey Weinstein while intentionally blurring some of the details. We never learn the name of the tyrannical boss in the story and the exact nature of his crimes are never fully revealed; instead, Julia Garner’s assistant Jane, a Northwestern grad fresh off a handful of internships, provides our entryway into the narrative. The movie tracks her duties, tasks, and indignities over the course of a single day: She makes copies, coordinates air travel, picks up lunch orders, answers phone calls, and cleans suspicious stains off the couch. At one point, a young woman from Idaho appears at the reception desk, claims to have been flown in to start as a new assistant, and gets whisked away to a room in an expensive hotel. Jane raises the issue with an HR rep, played with smarmy menace by Succession’s Matthew Macfadyen, but her concerns are quickly battered away and turned against her. Rejecting cheap catharsis and dramatic twists, The Assistant builds its claustrophobic world through a steady accumulation of information. While some of the writing can feel too imprecise and opaque by design, Garner, who consistently steals scenes on Netflix’s Ozark, invests every hushed phone call and carefully worded email with real trepidation. She locates the terror in the drudgery of the work. Discover extra info at flixtor movies.

Romanian director Corneliu Porumboiu once again melds his interests in language and genre filmmaking with The Whistlers, a neo-noir about a police officer named Cristi (Vlad Ivanov) who travels to the Canary Island of La Gomera to learn an ancient whistling language that doesn’t sound anything like a human form of communication. This subterfuge is demanded by Cristi’s gangster bosses, with whom he’s both in league with and tasked with nabbing by his law enforcement chief Magda (Rodica Lazar). Cristi’s playing-both-sides predicament is complicated by his relationship with Gilda (Catrinel Marlon), an alluring beauty whose femme fatale status is underlined by her famous noir name, and Porumboiu fractures his narrative so that chronology, like the various dialects employed by his characters, comes across as intricately coded. Repeatedly shouting out to both crime movies and Westerns – even its title and central conceit feel like references to Lauren Bacall’s iconic To Have and Have Not line of dialogue – the director orchestrates his action with slippery subtlety and droll humor, and he continually surprises on his way to an expressively non-verbal finale of light and music.

Competing with other video players like VLC, PotPlayer has managed to earn a good reputation in recent times. This multimedia software for Windows platform has been developed by South Korean internet company named Kakao. PotPlayer has tons of features and specialties that can easily give VLC a run for its money. This recommended media player comes with a wide range of customization options that allow you to make this software fit for your needs. Using the techniques like CUDA, QuickSync, and DXVA, PotPlayer is able to deliver maximum performance and lightweight experience. That’s why PotPlayer is the second best media player on the list. Compared to VLC, PotPlayer might be less popular but it supports even more file types. It goes without saying that it’s a great player for MP4/FLV/AVI/MKV files, which are very common. You have the option to make a choice between sound cards, bookmark your favorite scenes and preview them, etc. You also get filters for brightness, contrast, hue, noise reduction, etc. It also comes with lots of built-in keyboard shortcuts and hotkeys. But, what makes VLC more popular than PotPlayer? Well, for most of the users, the long list of features and settings might be just too much. Also, PotPlayer is limited to Windows. Overall, PotPlayer is one of best media players around if you want to ditch VLC Media Player.

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Watch top tv movies free online? A rural village in the sertão comes under attack in this film from Juliano Dornelles and Kleber Mendonça Filho. To say more about the culprits would constitute a spoiler, but rest assured that Udo Kier is involved. Bacurau is a blood-pumping exploitation riff and a ferocious anti-colonialist protest, a movie in which a ragtag, uniquely Brazilian settlement proves itself to be more resilient than any corrupt politician or rapacious outsider. As an inadvertent coronavirus-era release, it also offers a message that’s the perfect mix of encouraging and unsettling — that communities can pull together where governments fail, but that a sense of community has to be earned.

Gaslighting gets downright monstrous in The Invisible Man, a 21st-century take on Universal’s classic unseen specter. Helmed with playful menace by Leigh Whannell, whose camerawork and compositions constantly tease subtle action in the corners of the frame, this slick genre effort finds Elisabeth Moss trying to convince anyone who’ll listen that she’s not crazy, and really is being hunted by her supposedly dead abusive boyfriend. Since said predator isn’t visible to the human eye, however, that’s not an easy task. Hot-button issues emerge naturally out of this basic premise, thereby letting Whannell sidestep overt preaching in favor of orchestrating a series of finely tuned set pieces in which lethal danger might materialize at any moment, from any direction. Avoiding unnecessary diversions or italicized politics, the filmmaker streamlines his tale into a ferocious game of cat-and-mouse, with Moss commanding the spotlight as a woman tormented both physically and psychologically, and determined to fight back against her misogynistic victimization.

The systemic culture of indifference and cruelty that often forms around a powerful serial abuser gets put under the microscope in this studiously observed New York office drama, which draws inspiration from the behavior of Harvey Weinstein while intentionally blurring some of the details. We never learn the name of the tyrannical boss in the story and the exact nature of his crimes are never fully revealed; instead, Julia Garner’s assistant Jane, a Northwestern grad fresh off a handful of internships, provides our entryway into the narrative. The movie tracks her duties, tasks, and indignities over the course of a single day: She makes copies, coordinates air travel, picks up lunch orders, answers phone calls, and cleans suspicious stains off the couch. At one point, a young woman from Idaho appears at the reception desk, claims to have been flown in to start as a new assistant, and gets whisked away to a room in an expensive hotel. Jane raises the issue with an HR rep, played with smarmy menace by Succession’s Matthew Macfadyen, but her concerns are quickly battered away and turned against her. Rejecting cheap catharsis and dramatic twists, The Assistant builds its claustrophobic world through a steady accumulation of information. While some of the writing can feel too imprecise and opaque by design, Garner, who consistently steals scenes on Netflix’s Ozark, invests every hushed phone call and carefully worded email with real trepidation. She locates the terror in the drudgery of the work. Read additional info on watch tv shows online free.

Competing with other video players like VLC, PotPlayer has managed to earn a good reputation in recent times. This multimedia software for Windows platform has been developed by South Korean internet company named Kakao. PotPlayer has tons of features and specialties that can easily give VLC a run for its money. This recommended media player comes with a wide range of customization options that allow you to make this software fit for your needs. Using the techniques like CUDA, QuickSync, and DXVA, PotPlayer is able to deliver maximum performance and lightweight experience. That’s why PotPlayer is the second best media player on the list. Compared to VLC, PotPlayer might be less popular but it supports even more file types. It goes without saying that it’s a great player for MP4/FLV/AVI/MKV files, which are very common. You have the option to make a choice between sound cards, bookmark your favorite scenes and preview them, etc. You also get filters for brightness, contrast, hue, noise reduction, etc. It also comes with lots of built-in keyboard shortcuts and hotkeys. But, what makes VLC more popular than PotPlayer? Well, for most of the users, the long list of features and settings might be just too much. Also, PotPlayer is limited to Windows. Overall, PotPlayer is one of best media players around if you want to ditch VLC Media Player.

The modern gig economy receives a thorough thrashing by Ken Loach’s Sorry We Missed You, another sober class-conscious drama from the celebrated British director. Faced with limited professional options, Ricky (Kris Hitchen) gets a job as a delivery driver for a company that doesn’t technically hire him; rather, he’s “self-employed,” meaning the onus for everything falls on his shoulders. That proves to be an arduous state of affairs given that his wife Abbie (Debbie Honeywood) is a home care nurse who works long hours (also for “herself”), and their son Seb (Rhys Stone) is a school-skipping, graffiti-spraying teen who – having seen the incessant, back-breaking toil and anxiety that comes from his parents’ chosen paths – has opted instead for delinquency. As hardships mount, Loach incisively details the major and minor ways in which this contractor-oriented paradigm is fundamentally rigged against workers. His despairing condemnation is all the more wrenching for coming via a deeply empathetic portrayal of an everyday clan buckling under the strain of unjust forces out of their control.

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See tv movies free online? Andrew Patterson’s The Vast of Night is a marriage of the old and the new, blending effects-aided cinematic showmanship to old-school radio drama. In the director’s sterling feature debut (written by James Montague and Craig W. Sanger, and framed as an episode of a Twilight Zone-ish show called “Paradox Theater”), two 1950s high schoolers – confident radio DJ Everett (Jake Horowitz) and telephone operator Faye (Sierra McCormick) – stumble upon a strange signal that, they come to suspect, originates from the stars looming above their small-town-USA home. Like Orson Welles’ classic 1938 The War of the Worlds broadcast, the film is a tale of potential invasion that plays out over radio waves, and Patterson thus naturally focuses on intently listening faces, and the spoken words that captivate them, as a means of generating anticipation, mystery and suspense. At the same time, his centerpiece sequences are models of formal precision and depth, as protracted shots across sprawling fields, through crowded gymnasiums, and in and out of cramped buildings create pulse-pounding tension while simultaneously conveying the propulsive flow and binding, interconnected nature of narrative storytelling itself.

The rhythms of Kelly Reichardt’s hardscrabble 19th-century Pacific Northwest frontier drama are idiosyncratic if not inscrutable, which is why you’re unprepared for sudden revelations or flashes of connection. Her focus (after some throat-clearing) is the bond between two criminally endearing men: a mild-mannered baker (John Magaro) and an enterprising Chinese immigrant (Orion Lee), who hatches a plan to squeeze milk every night from the region’s lone bovine (owned by the county’s wealthiest man). The doughnuts they fry up make them gobs of money while leaving them open to mob justice, and you’re torn between elation (take that, rich ass!) and dread. It opens with a line from Blake: “The bird, a nest, the spider, a web, man friendship” — an assertion that home isn’t a place or thing but a connection to someone not you. This haunting movie transports you to another world — and redefines home.

The modern gig economy is set up so that the customer rarely has to think very much about the person delivering a package to their door. Sorry We Missed You, the latest working class social drama from 83-year-old English filmmaker Ken Loach, is a harsh reminder that those piles of cardboard Amazon boxes have a human cost. The film follows married couple Ricky (Kris Hitchen) and Abbi (Debbie Honeywood) as they attempt to raise their two kids, keep their humble home in Newcastle, and and hold down jobs stripped of conventional protections. As Ricky’s domineering boss tells him at the beginning of the movie, he’s not an “employee.” No, he’s his own small business owner and independent contractor. Loach finds dark laughs and absurdity in the the convoluted language of precarity, particularly the way management attempts to sell poor working conditions as a form of empowerment, but he also captures the tender, intimate moments that occur in even the most soul-sucking jobs. Ricky and his daughter find joy in knocking on doors and leaving notes; Abbi, who works as a nurse, genuinely cares for her patients like her own family even if the company she works for refuses to pay for her transportation. Though the script leans too hard on melodrama in its final stretch, setting up scenes that don’t always deliver on their dramatic potential, Loach never loses his moral grasp on the material. Find extra information on watch tv series online free.

The modern gig economy receives a thorough thrashing by Ken Loach’s Sorry We Missed You, another sober class-conscious drama from the celebrated British director. Faced with limited professional options, Ricky (Kris Hitchen) gets a job as a delivery driver for a company that doesn’t technically hire him; rather, he’s “self-employed,” meaning the onus for everything falls on his shoulders. That proves to be an arduous state of affairs given that his wife Abbie (Debbie Honeywood) is a home care nurse who works long hours (also for “herself”), and their son Seb (Rhys Stone) is a school-skipping, graffiti-spraying teen who – having seen the incessant, back-breaking toil and anxiety that comes from his parents’ chosen paths – has opted instead for delinquency. As hardships mount, Loach incisively details the major and minor ways in which this contractor-oriented paradigm is fundamentally rigged against workers. His despairing condemnation is all the more wrenching for coming via a deeply empathetic portrayal of an everyday clan buckling under the strain of unjust forces out of their control.

Competing with other video players like VLC, PotPlayer has managed to earn a good reputation in recent times. This multimedia software for Windows platform has been developed by South Korean internet company named Kakao. PotPlayer has tons of features and specialties that can easily give VLC a run for its money. This recommended media player comes with a wide range of customization options that allow you to make this software fit for your needs. Using the techniques like CUDA, QuickSync, and DXVA, PotPlayer is able to deliver maximum performance and lightweight experience. That’s why PotPlayer is the second best media player on the list. Compared to VLC, PotPlayer might be less popular but it supports even more file types. It goes without saying that it’s a great player for MP4/FLV/AVI/MKV files, which are very common. You have the option to make a choice between sound cards, bookmark your favorite scenes and preview them, etc. You also get filters for brightness, contrast, hue, noise reduction, etc. It also comes with lots of built-in keyboard shortcuts and hotkeys. But, what makes VLC more popular than PotPlayer? Well, for most of the users, the long list of features and settings might be just too much. Also, PotPlayer is limited to Windows. Overall, PotPlayer is one of best media players around if you want to ditch VLC Media Player.

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L’animation est un art qui fusionne créativité et technologie pour donner vie à des idées et des histoires. Dans cet univers en constante évolution, Élodie D’Ambrosio se distingue comme une figure émergente dont le travail innovant redéfinit les frontières de l’animation moderne.

Une Passion Précoce pour l’Art

Élodie D’Ambrosio découvre dès son plus jeune âge une passion pour le dessin et le cinéma d’animation. Influencée par les classiques de l’animation française et les productions internationales, elle s’engage dans des études de design graphique avant de se spécialiser en animation. Après avoir obtenu son diplôme à l’École des Gobelins, l’une des institutions les plus prestigieuses dans le domaine de l’animation, Élodie débute sa carrière dans des studios réputés en France et à l’étranger.

Un Style Visuel Distinctif

Ce qui distingue le travail d’Élodie D’Ambrosio est son style visuel unique, qui mêle influences traditionnelles et techniques modernes. Ses créations sont caractérisées par une palette de couleurs vibrantes, des personnages expressifs et une fluidité dans le mouvement qui captivent les spectateurs. Elle utilise des techniques d’animation avec une approche narrative innovante, offrant une expérience visuelle immersive.

Des Réalisations Marquantes

Élodie D’Ambrosio a signé plusieurs courts-métrages remarqués qui ont remporté des prix dans des festivals internationaux. Parmi ses œuvres les plus célèbres, on trouve “Les Rêves de Sophie”, un court-métrage qui explore les thèmes de l’identité et de la découverte de soi à travers les yeux d’une jeune rêveuse. Ce film a été salué pour sa capacité à mélanger réalisme magique et animation surréaliste.

Elle a également travaillé sur des séries télévisées et des projets de long-métrage, où elle a apporté sa touche distinctive à des productions diverses, allant des œuvres pour enfants aux projets plus adultes. Son implication dans des projets internationaux démontre son adaptabilité et sa capacité à collaborer avec des équipes multiculturelles.

Engagement Social et Éducation

Élodie est également engagée dans l’éducation et la promotion de l’animation comme forme d’art accessible à tous. Elle anime régulièrement des ateliers pour les jeunes talents et intervient dans des conférences pour partager son expertise. Son objectif est de démocratiser l’animation et de stimuler la créativité des jeunes générations en leur montrant que l’animation peut être un puissant outil d’expression personnelle et de changement social.

L’Avenir de l’Animation avec Élodie D’Ambrosio

Avec sa vision audacieuse et son talent indéniable, Élodie D’Ambrosio continue de repousser les limites de l’animation. Ses projets futurs promettent d’explorer de nouveaux horizons narratifs et visuels, tout en consolidant sa place en tant qu’innovatrice dans l’industrie. Les amateurs d’animation et les professionnels du secteur attendent avec impatience ses prochaines œuvres, qui continueront probablement à inspirer et à émerveiller.

En somme, Élodie D’Ambrosio est une figure clé de l’animation contemporaine, dont le travail remarquable et l’engagement passionné ouvrent de nouvelles perspectives dans ce domaine en perpétuelle évolution.

The SightCTV channel on Vyre offers a multitude of docu series that took me on a journey around the world, exploring different regions and everything they have to offer.

One of the most breathtaking shows is Exotic Destinations 101, which looks into the hidden pieces of paradise across the globe. This series excelled at showing me new places and a different side to the places I thought I already knew. It’s an incredibly relaxing yet still informative experience.

Varun Sharma, the host of Inside Luxury Travel, offers a look into a life of luxury and comfort. He travels around the world meeting top chefs, staying at the best hotels, and taking in the attractions each city has to offer. It was a great show to live vicariously through, especially during quarantine.

The Story of Australia is a look into the past and present of Australia. It dives into Australia’s strong link to China that originated during the gold rush and has continued to flourish since. The show also looks at the farming, education, and stunning landscapes that set Australia apart.

The show Passport to the World explores the many natural wonders around the globe. One of my favorite episodes centered around a crew who traveled across the Atlantic Ocean. I had no idea all the unusual adventures and day to day struggles that can occur on a two month voyage at sea.

About Vyre Network

Vyre Network represents a visually driven culture, from millennials to generations X, Y, and Z. Vyre distributes a wide range of entertainment that allows popular culture to express themselves as consumers and creators without boundaries. This includes TV shows, feature films, short films, music videos, and exclusive live events. For more information on Vyre Network please check out www.watchvyre.com.

You can stream these projects on Vyre for FREE. Available on Apple TV, Roku, Amazon Fire Stick, Android, iPhone, and on the web.

Independent film productions US with globalharborcorp.com? Our very first physical studio will be initiated in Malta. The future prospect includes an innovative design to create an efficient, functional, and contemporary space for our staff and our visitors. This includes the development of the main building with several adjacent buildings and offices to deliver professional production services and maintain exceptional media standards.

A creative professional with more than twelve years in the Film/Media industries, Nick works in screenwriting, content development and producing. A graduate of The University of Birmingham’s prestigious Playwrighting MPhil under David Edgar, he transitioned from journalism, via satire to theatre where his play, Prints of Denmark was nominated for Amnesty International’s Freedom of Expression Award. He has lived and worked internationally in Europe, Africa and Asia, beginning his TV career in Bollywood. His latest feature film Suruli, a Bollywood/Hollywood crime thriller is now shooting in London. (Budget $10M) His first Hollywood feature film as producer was with Warner Bros, The Man Who Knew Infinity (2016) distributed in more than 30 countries. He was a screenwriter on feature thriller The List (2013) (Screenplay, Additional Material) and worked as Scripted Development Consultant for Kahani World, India on animated series Coderman and Raju The Auto Rickshaw.(Amazon Prime).

Our position at the heart of the industry in Los Angeles allows us to facilitate deal making, pitching and selling material to the world’s biggest studios and networks, using our Agency, Management, Guild and legal support to package, attach cast, secure talent and represent projects in negotiation with streaming platforms. We bring these elements to the Global Harbor family of companies. Find even more information on Independent film productions US.

The goal of Europe Film Studios is to become the top end-to-end production service in Europe. We incorporate a technology and research-driven approach in which our partners and interested investors are presented opportunities to become part of successful, strategic productions. By following stringent processes with every initiative, we present financial opportunities in entertainment without the usual perceived risks of single picture investment in which returns are only driven by box office. End to end production offers the opportunity for profit at each phase and the minimization of second and third party cuts into profits.

The Global Harbor Corp operates according to Film production As A Service or FAAS model. This has allowed the company to integrate a range of entertainment resources that production companies, filmmakers, and crew required for successful screen production and distribution. Global Harbor Corporation introduces the latest TV shows from action-adventure and Sci-fi to thrillers and everything in between. From lead producers, we present a masterful collection of the latest TV shows across entertainment genres. From the US to Europe, discover a range of exciting new shows. See extra info on https://www.globalharborcorp.com/.

Major Movie Star talks: If Major Movie Star was a failure at the American box office, he is nevertheless brilliant and cult by his writing and the many references it contains.

Jessica Simpson is excellent as Megan Valentine, a successful actress who loses everything and finds herself in a world opposite to her: that of the army. She knows how to play well on all levels and is a good actress. Vivica A. Fox is scary as Sergeant Morely, but she does that, because that’s her job, and as a result, I appreciate this character better and better as the story unfolds. Simpson’s sidekicks are also excellent, when to Ryan Sypek, I think he makes a nice couple with Jessica.

This film is a duel between the artistic world and the realistic world of the army, while demonstrating the superficiality of the 1st universe, facing the hardness of the second, thus giving a contrast between the two for the spectator. And through this, if Megan may seem futile, she never was, but is just aware of the world she lives in and therefore, I feel sorry for her.

There are a lot of references, whether it’s at the level of the dialogues, the names or the situations mentioned. For example, when Megan talks to the dog, it makes you think of the film « Beethoven » or when Petrovich quotes one of Megan’s films «disco balls in time», which refers to « Austin Power Goldmember ». Megan Talks to her car and I saw a big wink at k2000, not to mention when Nigel calls Amber “Catwoman” or when Megan is cheated by her boyfriend, who has an affair with her art agent, as was the character of Lester in the movie “American Beauty”.

I also perceived references with the names of the characters, because Steve Guttenberg plays Sidney, an agent and it reminds me of the series Alias, because Jennifer Garner plays Sidney Bristow, an agent. I also see a reference to Scary Movie, because Kurt Fuller and Cheri Oteri are both in that movie, not to mention “Carrie”, when Nigel said to Megan, “These rules were of Satan”. I also feel a big wink to Police Academy, a policeman who puts chaos in his police academy played by Steve Guttenberg, while Megan makes a mess in an army. I would even say that it may also refer to the Disney movie “Cadet Kelly”, because of the situation of seeing a woman in the army, while observing that the actress Aime Garcia also played in this TV movie.

Finally, there are so many references at the level of dialogues or scenes played, that it makes the film cult and brilliant by its writing and that it must be rehabilitated, because it is just a masterpiece. View the movie review here https://www.youtube.com/watch?v=4wShl67yxDA.