[Film Indonesia] London Love Story

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London Love Story akhirnya pecah telur. Film garapan sutradara Asep Kusdinar ini berhasil menembus angka sejuta penonton. Seperti dikutip dari filmindonesia.com pada Selasa, (23/2/2016), data paling mutakhir menyebutkan bahwa film ini tepatnya telah meraih sebanyak 1.010.279 penonton. Dengan begitu, London Love Story adalah film pertama yang edar tahun di tahun ini yang berhasil mencapai angka satu juta penonton.

The Year of Living Dangerously is a 1982 Australian romantic drama film directed by Peter Weir and co-written by Weir and David Williamson. It was adapted from Christopher Koch's 1978 novel The Year of Living Dangerously. The story is about a love affair set in Indonesia during the overthrow of President Sukarno. It follows a group of foreign correspondents in Jakarta on the eve of an attempted coup by the 30 September Movement in 1965.

A week before he is to be baptized, a closeted gay teen struggles to balance his faith with his sexuality and must come to terms with his family, community and himself. It is a film about family, love, the confusion that comes from being a young person and the struggle to find a home in a world that at times can seem devoid of tolerance. 0:20:00

GRACE gives us a look into the lives of scavengers in the Philippines through the story of a courageous young girl. Thirteen-year-old Mary-Grace Rapatan has lived on top of a notorious garbage dump in the Philippines her entire life, picking through mountains of trash to feed her family while persevering to get an education. The film shows the determination and potential of this young teenager despite the challenges she faces. 0:22:49

STARZ ORDERS THIRD SEASON OF "POWER BOOK III: RAISING KANAN" AHEAD OF SEASON TWO PREMIERE ON AUGUST 14THE PRESTIGE FAMILY CRIME DRAMA STARS TONY(R) AWARD WINNERPATINA MILLER AND MEKAI CURTISSanta Monica, Calif - STARZ orders a third season of its hit family crime drama series "Power Book III: Raising Kanan" ahead of the upcoming season two premiere on August 14, it was announced today during its 2022 Summer Television Critics Association presentation. Production will begin this summer in New York. Averaging nearly 9M viewers across platforms in its debut season, the show had one of the best performing first seasons in STARZ history.Set in the early 1990's, the third series in the "Power" Universe tells the origin story of fan favorite character, "Kanan Stark," and his entry into the criminal world through his mother, who ruthlessly runs the family's drug empire. It stars MeKai Curtis in the titular role of "Kanan" and Tony(R) Award winner Patina Miller (Into the Woods, "Madam Secretary") as his mother, Raquel "Raq" Thomas.As previously announced, season two premieres on August 14 with episodes available weekly on Sundays at midnight on the STARZ app, all STARZ streaming and on-demand platforms and internationally on the STARZPLAY premium streaming platform across its complete footprint in Europe, Latin America and Japan. On linear, it will debut on STARZ at 9:00 p.m. ET/PT in the U.S. and Canada."Our passionate and loyal fans have been eagerly awaiting the season two return of 'Raising Kanan' to see the continued transformation of a young and naïve teenage Kanan Stark into the ruthless, no-nonsense character they know and love," said Kathryn Busby, President, Original Programming, STARZ. "And we're thrilled to be doubling down on a third season with this incredible cast led by Patina and MeKai."In addition to Miller and Curtis, the season two cast also includes Omar Epps ("House," Love and Basketball), London Brown ("Ballers"), Malcolm Mays ("Them," "Snowfall"), Joey Bada$ (Two Distant Strangers), Hailey Kilgore ("Amazing Stories"), Shanley Caswell (The Conjuring) and Antonio Ortiz ("High Fidelity," "The Sinner").Sascha Penn will return as showrunner and executive producer for season three of "Raising Kanan." The "Power" Universe series are executive produced by "Power" creator and showrunner Courtney A. Kemp through her production company End of Episode, Curtis "50 Cent" Jackson through G-Unit Film and Television, and Mark Canton through Atmosphere Entertainment MM. Chris Selak, Kevin Fox, Santa Sierra and Natasha Gray also serve as executive producers for season three. Lionsgate Television produces the series for STARZ.Follow "Power Book III: Raising Kanan" on SocialTwitter: @RaisingKananInstagram: @RaisingKananStarzFacebook: @RaisingKananJoin the conversation with #RAISINGKANAN and #STARZ**About STARZ **STARZ (www.starz.com), a Lionsgate company, is a leading global media streaming platform committed to delivering premium content that amplifies narratives by, about and for women and underrepresented audiences. STARZ is home to the highly-rated and first-of-its-kind STARZ app that offers the ability to stream or download STARZ premium content, as well as the flagship domestic STARZ(R) service, including STARZ ENCORE, 17 premium pay TV channels, and the associated on-demand and online services. In 2018, STARZ launched its STARZPLAY international premium streaming platform to provide subscribers access to the "best of global SVOD." STARZPLAY, coupled with its STARZPLAY ARABIA joint venture, has expanded its global footprint into more than 60 countries throughout Europe and Latin America along with Canada, Japan, India and Indonesia. STARZ and STARZPLAY are available across digital OTT platforms and multichannel video distributors, including cable operators, satellite television providers, and telecommunications companies around the world. In February 2021, STARZ launched #TakeTheLead, a multi-faceted and innovative inclusion initiative expanding its existing efforts to improve representation on screen, behind the camera and throughout the company.**About Lionsgate **Lionsgate (NYSE: LGF.A, LGF.B) encompasses world-class motion picture and television studio operations aligned with the STARZ premium global subscription platform to bring a unique and varied portfolio of entertainment to consumers around the world. The Company's film, television, subscription and location-based entertainment businesses are backed by a 17,000-title library and a valuable collection of iconic film and television franchises. A digital age company driven by its entrepreneurial culture and commitment to innovation, the Lionsgate brand is synonymous with bold, original, relatable entertainment for audiences worldwide.

A swift survey of Noah reviews clearly shows that theaudience's sensitivity was challenged in several regards; Noah wasportrayed as a "religious extremist" and "borderlinepsychopath", the Creator proved to be a "distant--unaware oruncaring--overseer", while Aronofsky himself was said to have a"sinister purpose of leading people to believe that Christianity andJudaism are something they are not." On closer examination, however, theabove summarized pleas are not entirely relevant for two basic reasons.First, the movie consists of ideas that have been in use since antiquity,rearranged and composed into a new-old story and all the arguments directedagainst Noah could be very well addressed to the Bible, Dead Sea Scrolls orRabbinic midrashim. Second, the movie presents more often than not a"censored" version of the stories furnished by the classicalliterature itself and the classical variants are far more disturbing. Themain purposes of the present paper are (1) to reconstruct several of such"censored" threads from Noah that play with the motive of love; (2)to juxtapose them with their equivalents transmitted in the classicalsources; (3) to show that had Aronofsky and Handel followed the ancient textsmore strictly, they would have produced a far more controversial andunsettling picture; (4) to discuss the possible sources of the controversiesevoked by the movie.

The position of Noah (2014) among the films of Darren Aronofsky isunique for at least two reasons. First, while Pi (1997) and The Fountain(2006, co-written with Ari Handel) can be construed as spiritual or evenreligious, Noah is his first explicitly biblical movie. Counterintuitivelyhowever and against the tradition of the genre, (1) most of the outdoorfilming took place in the dark and bleak landscapes of Iceland rather than inthe sun-scorched deserts of Tunisia or Colorado, while the cast'scostumes retained a design that would fit a post-apocalyptic fiction ratherthan a Hollywood biblical epic. In addition to this, Aronofsky himselflabelled it as "the least biblical biblical film ever made" (2)thus acknowledging its liminal status. In result, the audience had all therights to feel confused; although Noah has told the Genesis flood story, theway it did so was far from typical cinematographic portrayal of theScriptural accounts.

This latter observation is especially important here, because itleads to the conclusion that the above summarized discussion is not entirelyrelevant for at least two basic reasons. First, Aronofsky and Handel did notmake their movie in a cultural void but just like other filmmakers have beeninfluenced by various modern reiterations of the story of Noah and biblicalmovies in general. (18) Moreover, in numerous interviews the authors stressedthat during the production of Noah they devoted much time to studying theclassical sources and consulting religious scholars. In consequence, theycame up with a movie comprised mostly of ideas and myths that existed inantiquity or the medieval era. (19) This fact, however, by no meansdiminishes the value of the writers' genuine effort but suggests thatthe film follows similar principles as do the ancient or medieval textsretelling the biblical stories. What is more, it clearly shows that thecritique directed against Noah could be very well extended to the Bible, DeadSea Scrolls or Rabbinic midrashim, since these are the ultimate sources ofAronofsky and Handel's ideas.

The text is definitely more detailed to that of the Bible andexplicitly portrays bney ha-'elohim as the angels led by Semjazamotivated by the paternal instinct. The angels immediately recognize thetransgressive nature of the act and although the text does not specify whatis precisely the nature of their sin, the later passages of the compositionwitness to various traditions in justifying the angels' punishment:defilement with the earthly women, (34) leaving the heavenly abode andwreaking destruction (35) or teaching unrighteousness and workinggodlessness.(36) The "love-story" of the Watchers has also a uniquepromethean-like twist in 1 Enoch 7:1-2 where the angels instruct the women on"charms and enchantments, and the cutting of roots." However,unlike Prometheus whose fire-giving act bears the marks of altruism, theangels' decision to reveal the secret arts seems to be a kind of abarter trade in exchange for progeny rather than the expression of concernand care. (37) 2b1af7f3a8