Panavision’s Post

BIOGRAPHICAL FILM..Oscar Wilde <<Everyone may not be good, but there's always something good in everyone. Never judge anyone shortly because every saint has a past and every sinner has a future.<< Oscar Wilde In the film, a renowned literary figure finds himself embroiled in a scandal that shakes the very foundations of society. As whispers of betrayal and intrigue swirl around him, he faces a relentless pursuit by those determined to silence his voice. The courtroom becomes a battleground for truth and morality, where love, loyalty, and identity are tested under the harsh scrutiny of public opinion. As the stakes rise and secrets unravel, the protagonist must navigate a treacherous landscape filled with deception and betrayal. Will he stand firm in his beliefs, or will the oppressive forces close in on him? Join in for a gripping exploration of courage, artistry, and the fight for justice that will leave you questioning the cost of authenticity. Starring: Peter Finch, Yvonne Mitchell, James Mason Directed By: Ken Hughes

New compilation out now on The People Profiles Extra. If you're not following our channels or LinkedIn page... well, what are you doing?? More new documentaries every week on the main channel. 🤟🏻 #history #documentary #biography #videoediting #videoeditor #youtubechannel

Personal stories, expert interviews and rich archival materials weave a narrative around the status of strategies for reparations, restitution and restoration today. https://lnkd.in/eCvw_MqR #film #inequality

B) Post 35.5, snack 2.5.2 © This is the 2nd of 4 visualizations numbered consecutively as one post. (PHOTO)MIRROR 2 (of 4 in a row): Leader of the TRAIN transport FILOs: 👉Suddenly another train approaches ON THE SAME TRACK... The two drive straight into each other… In all these FILO-stories, a +/- 20years old actress plays the leading role 'Philomeen Filo'. In concrete terms, her destination is indeterminate; she travels as part of the crowd, and witnesses Human social contact in the relevant (public) means of transport in each commercial with a length of ½ - 2 minutes. In her observations and interactions, she has an immaterial view of 'the middle way'. Her coincidence is that she gets involved in Human problems every time. You follow the symbolism of the filmmirror philosophy which is visualized in the front of every Filo-commercial with train travel. Continued: see below / here after: C) post 35.5.3

#ThrowBackThursday This week, we've dug into the JPH collection and located another excellent film analysis; Hank Nelson's 'Kokoda: Pushing the Front Line', https://buff.ly/3Yj8asa Abstract: From the release of Damien Parer's Kokoda Frontline in 1942, there have been several high quality documentary films and many popular and scholarly histories on the battles on the Kokoda Track, but until Alister Grierson's Kokoda of 2006 there was no feature film. Initially well received by an Australian public, Kokoda raises several important questions for historians. Makers of films on historical events properly draw on contemporary images: they are evocative of a time and place, guides to all that detail of dress, manners and possessions that take a crew so long to get right and that the pedantic delight in criticising, and they provide templates for shot composition. But the images in films are not subjected to the same scrutiny that historians apply to written sources. In Grierson's Kokoda, images are drawn from somewhere on the Track and relocated and, in one case, taken from another battle and another place. Film critics were concerned with placing Kokoda within the history of war films and evaluating it against other war films. When film critics considered whether Kokoda was ‘real’ or ‘convincing’, they were judging whether the behaviour of soldiers in battle moved and engaged an audience. Almost no film critics considered the film's accuracy as history, and it does repeat many popular errors about the Kokoda battles. Finally, it is interesting to consider what has been omitted and whether this has been the inevitable consequence of reducing an event spread over 100 kilometres of Track and several months to 92 minutes of film time, and whether the choices have diminished the end product as film or as history. More historians need to make themselves familiar with film and engage more readily in the public evaluation of those films claimed to be based on ‘true’ stories and illuminating what have come to be accepted as determining events in national histories. You can watch Kokoda Front Line (1942) here> https://buff.ly/4flEOiT #PacificHistory #Film #Cinema #Nationalism #WorldWar #MissedInHistory #History

"Parallel Lives: A Tale of Children and Parrots" Step into a world where parallel lives intertwine, where innocence takes flight alongside vibrant feathers. In this captivating short film, director Aravind masterfully weaves a tale of interconnectedness and wonder. Follow the journey of three children and three parrots as they navigate the parallel landscapes of their lives. Through stunning visuals and heartfelt storytelling, we witness the echoes of existence mirrored between these unlikely companions. As the director delicately explores the beauty of innocence and the resilience of nature, audiences are transported to a realm where the boundaries between human and avian blur. Prepare to be enchanted by this unique cinematic experience, where parallel lives converge in a symphony of life and discovery. Don't miss "Parallel Lives," a short film that reminds us of the magic that surrounds us and the beauty of our shared existence.

Here are two thumbnail designs for Junaid Akram - Ganjiswag's plane crash documentary. Which one would you choose to click on? Comment your favorite and explain why! Your opinion matters and could help me decide the best :)

I am beyond proud to have played a role in representing commercial partnerships for The Glassworker, Pakistan's first hand-drawn animated feature film. This film is a monumental achievement, and I’m excited to share this 90-minute documentary that showcases the relentless passion that brought this vision to life. While I’ve known about Usman Riaz for years, my admiration for him soared as we worked together on the buildup to the film’s Pakistan launch. His drive and focus on creating something truly original has set a new benchmark. Despite all odds, The Glassworker continues to shine in cinemas, earning well-deserved appreciation. Usman embodies the principle of 'work first, promote later', a mindset we desperately need in Pakistan, where early promotion often overshadows the substance of creation. His journey of turning the 'impossible' into reality is a story that transcends the film itself—it’s a powerful reminder of what can be achieved when we dedicate ourselves fully to our craft. This is not just the success of a film, it’s the beginning of a new era of creativity, original thought, and a mindset shift. I hope The Glassworker inspires others to break boundaries, think bigger, and dream bolder. A special acknowledgment goes to Geo Network led by Mir Ibrahim, whose partnership with The Glassworker was groundbreaking. Geo didn’t just become a classic 'media partner', they redefined how films in Pakistan should be promoted. Even after 17 years in this industry, I can say with confidence that the promotion strategy Geo crafted for this film is a master class in it self. Khizer Riaz Umar Channa #TheGlassworker #UsmanRiaz #PakistaniCinema #CreativeRevolution #Animation #BreakingBoundaries #Inspiration #DreamBig #OriginalContent #Pakistan

Future project: One minute short film «Dada» (US, 2024) Synopsis: "Dada" is a one-minute experimental short film that immerses viewers in the chaotic and provocative essence of Dadaism. Directed and produced by Kostiantyn Mishchenko, the film reflects the avant-garde movement's core principles: irrationality, cynicism, and the rejection of traditional aesthetic values. Born from the aftermath of World War I, Dadaism denounced the rationalism and logic that led to devastating conflicts, advocating for a radical deconstruction of established art forms. This film captures the spirit of Dadaism, serving as both an anti-war statement and a critique of bourgeois norms, aligning itself with the radical leftist ideologies of anarchism.