Discovering the alchemy behind every frame with some kind of humor 🙃. Films move between a form of art and a form of business (they/them/alien👽)
The Cinematic Cut
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“Critters” turn 40…and they still look cute 🥹
This is, without a doubt, one of the most iconic and wonderful musical scenes in the history of cinema.
“Victor/Victoria” (1982) is among the best musicals of the last 45 years, a true masterpiece that only a master like Blake Edwards could have created. It was his only Oscar nomination.
New text on my Substack channel.
This time is dedicated to local media, including the suspicious merger of Nexstar and Tenga, the dismantling of PBS, and YouTube's massive domination.
20 years later, and this is still one of the best fantasy movies ever made ❤️
Thanks, Cannes, for celebrating this masterpiece. #Cannes2026
Money rules.
What better tribute to “cinema” and the misery we're living through, the continuous financialization of Hollywood studios, than this amazing scene from “Cabaret”. #Paramount #Warner
Oh, God... and it’s only in March.
The New Hollywood Game: fewer players, fewer movies, more uncertainty.
“This text was set to reflect on something specific: the desire for Paramount to win was rooted in the illusion of preserving the theatrical window, something the specter of Netflix did not allow. But it is was an illusion.”
“The studios and the financial components of this ‘financialization’ of the film industry have little magic left in them; they function as extraction mechanisms. A model that has led the so-called mecca of cinema into a state of labor and economic precarity.”
My thoughts on Warner’s acquisition.
Now that we're in Ryan Gosling mode, can we take a moment to remember and celebrate “The Nice Guys” (2016)?
Ten years of this fantastic suspense comedy with a perfect cast.
The Cinematic Cut
The Cinematic Cut
The Cinematic Cut
"The big question is: is it already too late for the North American industry to recover the production that has moved to other territories?“
Read my last article on Substack ❤️
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Paramount has begun revealing several of its movements, and the one raising the most suspicion among producers, distributors, and exhibitors is its “promise” to release 30 titles per year.
The studios and the financial components of this ‘financialization’ of our ‘beloved industry’ have little magic left in them and are, instead, essentially mechanisms of extraction.
The ‘mecca’ of cinema has all alarms going off in response to the ongoing erosion of jobs tied to film and television production, as well as its surrounding economic ecosystem.
