This powerful portrait of an uncommonly courageous and tenacious woman makes it very clear what you get when the freedom of the press is crushed: no rule of law and a crumbling democracy. “No one should die because of his job” answers one of Carmen’s colleagues.Ĭould it be that social media is Aristegui’s best protection? She’s so popular that eradicating her would start an uprising. “Would you be prepared to die for this job?” asks director Juliana Fanjul. Meanwhile, the terrifying and brutal reality of politics in Mexico becomes palpable when there’s a violent break-in at her office and another defiant radio journalist is murdered. The direct cinema scenes alternate with conversations with Carmen and her colleagues. The camera follows the engaging and cheerful journalist as she goes about her work. When her radio station fired her in 2015, she started her own channel and continued broadcasting online, where she now has around 18 million listeners. Things you buy through our links may earn New York a commission.The well-known Mexican radio host and journalist Carmen Aristegui is fighting against fake news, government corruption and the related drugs trade. Thus, a found-footage, modern-day, Frankenstein-esque film wasn’t merely likely it was inevitable. Fox’s Chronicle and Warner Bros.’ Project X both cost just $12 million to make, and grossed over $123 million worldwide and just shy of $80 million worldwide, respectively. In the last few months, we’ve seen a glut of ultra-low-cost movies ranging from the execrable The Devil Inside (January) to the exceptional Chronicle (February) to the merely inebriated, like Project X (March), and all of them did insanely well at the box office: The Devil Inside cost Lionsgate $1 million to acquire and made $100 million worldwide. And Universal is not only developing a Frankenstein with Battleship producer Scott Stuber and Pan’s Labyrinth director Guillermo del Toro, but also a Bride of Frankenstein with Limitless director Neil Burger.Īlso still in the midst of a moment are found-footage films. Simultaneously, Fox is developing its own Frankenstein with Neighborhood Watch producer Shawn Levy, as is Columbia Pictures, which has put David Fincher on the reanimation tale being produced by The Amazing Spider-Man producer Matt Tolmach. Stuart Beattie’s I, Frankenstein is set in the present day and seems equal parts Frankenstein and Underworld, with the monster caught between warring factions of gargoyles and demons. We are, of course, in the midst of a massive Frankenstein moment in Hollywood. Publisher: HarperCollins Childrens Books. ARTIST, CREATOR : VANESSA STEFANIUK ' RADIO SILENCE ' AND ALL. Frances is going to need every bit of courage she has. 09 RADIO SILENCE ( VOLUME ONE ) ' TRACK ONE : DREAMS OF ANA ( CRUSIS ) ' EDITOR. And it’s only by being your true self that you can find happiness. We hear exclusively that Radio Silence, the directing quartet behind this year’s found-footage Sundance horror flick V/H/S - ironically, picked up for distribution on VOD by Magnolia Pictures for a million bucks - is in negotiations with Lionsgate to direct The Reawakening, another found-footage horror script, this one from screenwriter Luke Dawson ( Shutter) that’s equal parts Flatliners and Frankenstein. It’s only by facing up to your fears that you can overcome them. Henry Frankenstein, in the 1931 Universal film.Įvery once in a while, Hollywood’s pathological fear of innovation collides head-on with its neurotic need for imitation, often resulting in a bizarre, modern-day Frankenstein’s monster of a hybrid.
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