Latest news with #ThisEvening
See - Sada Elbalad
24-05-2025
- Entertainment
- See - Sada Elbalad
Asma Abulyazeid, Ahmed Magdy Reunite for TV Series "Fat El Maad"
Yara Sameh Asma Abulyazeid and Ahmed Magdy are teaming up again on the TV series "Fat El Maad." The drama consists of 30 episodes and marks the second collaboration between the pair after the 2019 TV series "El Anesa Farah". "Fat El Maad" also stars Mohamed Ali Rizk, Ahmed Safwat, Hager Afifi, Mohamed Abu Dawood, and others. Saad Hendawy directed the series from a script by Atef Nashed, Islam Adham, and Nasser Abdel Hamid. Square Media is the studio behind the drama. "Fat El Maad" recently wrapped filming and is set to premiere during the off-season. Abulyazeid, born on July 10, 1990, has liked acting since young, but could not act in her school because there was no school theater, which became available in college, where she studied at the Faculty of Fine Arts. She participated in a large number of theatrical performances that were displayed at the Hanager Theater and competed for the Sheikh Sultan Al Qasimi Award for Best Theater Show in 2016. In 2017, Abulyazeid drew attention through her performance as Toka in the TV series "Hadha Almasa" (This Evening). Her TV credits also include "Al Nas" (2024), "Touba" (2022), "Al Ekhteyar 2: Regal El Zel" (2021), Hogan" (2019), "Zodiac" (2019), "Layali Eugenie" (2018), and "'Ana shahira ... 'ana alkhayin" (2017). Abulyazeid is also known for her roles in films such as "El Daawa Ammah" (2022),"Laylat Amar 14"(2022), "Mousa" (2021), "30 March" (2021), "El Kowayeseen" (2018), and "Hadha almasa'" (2017). Along with her acting career, Abulyazeid participated in the band "Bahjja" and presented monologues in several concerts. read more New Tourism Route To Launch in Old Cairo Ahmed El Sakka-Led Play 'Sayidati Al Jamila' to Be Staged in KSA on Dec. 6 Mandy Moore Joins Season 2 of "Dr. Death" Anthology Series Don't Miss These Movies at 44th Cairo Int'l Film Festival Today Amr Diab to Headline KSA's MDLBEAST Soundstorm 2022 Festival Arts & Culture Mai Omar Stuns in Latest Instagram Photos Arts & Culture "The Flash" to End with Season 9 Arts & Culture Ministry of Culture Organizes four day Children's Film Festival Arts & Culture Canadian PM wishes Muslims Eid-al-Adha News Egypt confirms denial of airspace access to US B-52 bombers News Ayat Khaddoura's Final Video Captures Bombardment of Beit Lahia News Australia Fines Telegram $600,000 Over Terrorism, Child Abuse Content Arts & Culture Nicole Kidman and Keith Urban's $4.7M LA Home Burglarized Sports Former Al Zamalek Player Ibrahim Shika Passes away after Long Battle with Cancer Sports Neymar Announced for Brazil's Preliminary List for 2026 FIFA World Cup Qualifiers News Prime Minister Moustafa Madbouly Inaugurates Two Indian Companies Arts & Culture New Archaeological Discovery from 26th Dynasty Uncovered in Karnak Temple Business Fear & Greed Index Plummets to Lowest Level Ever Recorded amid Global Trade War Arts & Culture Zahi Hawass: Claims of Columns Beneath the Pyramid of Khafre Are Lies
Yahoo
03-04-2025
- Entertainment
- Yahoo
Sidewalk Film Center hosting Alabama Spotlight Weekend
BIRMINGHAM, Ala. (WIAT) — Sidewalk Film Center will be highlighting Alabama films with its Alabama Spotlight event from April 4-10. The Alabama Spotlight will feature films that were shot in Alabama and films that were made by local filmmakers. Here's a list of movies that will be included: 'Close Encounters of the Third Kind' (1977) 'Big Fish' (2003) 'Hale County This Morning, This Evening' (2018) 'Don't Die' (2023) Each showing of this film will be followed by a Q&A. Showtimes and tickets for each show can be found here. Alabama actor who shared screen with Val Kilmer in 'Tombstone' calls late actor one of the best of his generation On April 5 and 6, Sidewalk will also host the Alabama Shorts Showcase. This limited-time event will feature the works of both local and student filmmakers. A list of the featured short films, including their directors, can be found here. The Alabama Shorts Showcase is free to attend, but reservations are encouraged. Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
New York Times
01-03-2025
- Entertainment
- New York Times
These Films See People the Way They See Themselves
It's incredibly rare — in fact, I don't think it's ever happened before this year — for a filmmaker to get an Oscar-nomination for a documentary and then land a best picture nomination for their next feature film. (A few have come close, though, and Ava DuVernay pulled it off, but in the opposite order.) Part of the blame lies with the Academy, which has somehow never nominated a documentary for Best Picture. It's also just difficult, though by no means impossible, to excel in both fiction and nonfiction in a way that captures voter attention. Yet with 'Nickel Boys,' nominated this year for both best picture and best adapted screenplay, the photographer and filmmaker RaMell Ross has done just that. His previous film, the groundbreaking, lyrical documentary 'Hale County This Morning, This Evening,' was nominated for best documentary in 2019. 'Hale County' may be less well-known than its fictional sibling, but it's a vital companion piece. In fact, revisiting it now in the light of 'Nickel Boys' illuminates Ross's bigger project, and what makes his work so disruptive and his images so indelible. Much has been written — including here in The New York Times — about 'Nickel Boys,' which topped my own list of 2024's best movies. In reimagining Colson Whitehead's novel, Ross and Joslyn Barnes shifted the book's third-person narration to first person perspective, so we spend nearly the entire film looking through the eyes of two teenage boys, Elwood and Turner. That kind of perspective isn't alien to storytelling. Movies have used it (including Steven Soderbergh's recent thriller 'Presence'), and it's common in video games. But in 'Nickel Boys' it feels fresh and radical. Ross, along with the cinematographer Jomo Fray and the camera operator Sam Ellison, positioned themselves and their equipment incredibly close to the actors so that their perspectives would follow their performances. The effect is remarkable: While Whitehead's novel is about how we remember history, individually and collectively, Ross's film is about how we see history. That 'we' includes the audience — in fact, it might be more accurate to say it implicates the audience. 'Nickel Boys' insistently shakes the viewer out of the habits audiences have developed when watching fiction films. The action sometimes cuts away to documentary footage, historical images of Black Americans, without a narratively obvious motivation to do so. The camera acts like a person with their own subjective view in the scene, not the ostensibly impartial eye watching drama unfold that fiction films traditionally employ. Characters look straight into the lens, seemingly directly into our eyes, dragging us into the story. Want all of The Times? Subscribe.
Yahoo
16-02-2025
- Entertainment
- Yahoo
'Nickel Boys': How filmmaker RaMell Ross crafted visionary Oscar-nominated movie
With one of the most affecting and impactful movies released in recent years, RaMell Ross has established himself as a visionary filmmaker with Nickel Boys (now in theatres, available on VOD in the U.S.). Based on the novel by Colson Whitehead, the film has been celebrated as a masterpiece since its premiere. "It's been rewarding, as that's the aim, and someone being kind of speechless after or not being able to gather their thoughts I think means the intention of having the film be something that feels more ... experiential, it did at least part of its thing," Ross told Yahoo Canada about seeing the response to the film. "Then it's fun to kind of like prod people and ask them to try, and then the fumbling is kind of interesting, because those first initial words are pretty telling." Nickel Boys is a story told through the perspective of two Black teenage boys Elwood, played by Ethan Herisse, and Turner, played by Brandon Wilson, set in the Jim Crow South. The boys establish a friendship when they're both sent to a reform school in Florida, the Nickel Academy, based on the real-life Arthur G. Dozier School for Boys that closed in 2011. There are still ongoing investigations into more than 100 deaths that happened on the ground at Arthur G. Dozier, many buried in unmarked graves. Elwood has a more optimistic view, clinging to his dream of going to college, while Turner's focus is on trying to survive the nightmare of the Nickel Academy, dispensing the necessary information to Elwood. The journey of watching Nickel Boys is incredibly unique, with Ross beginning the film from the perspective of Elwood, with the camera then shifting between Elwood and Turner's points of view. As Ross has described, the filmmaker sees the camera as an organ so that the audience feels like they're both Elwood and Turner through the story. It's something Ross identified that he's been working on since he made his previous film, the brilliant Hale County This Morning, This Evening. "I think the reason why the book ['Nickel Boys'] could be approached with what some people would call boldness, but what I would call just a type of cogency ... or lucidity is because it's just kind of at the end of an art practice, that's the next kind of step of it," Ross said. "And so having two characters who resembled myself, essentially the two characters that are in Hale County This Morning, This Evening, it's quite natural for me to wonder what they saw, and not seeing them see things, but from inside their heads." With that perspective also comes unique embodiment of the characters by the actors in Nickel Boys. For example, Daveed Diggs, who plays adult Elwood, what we see from him is a portrayal of the character through the movement of his back and shoulders, not seeing his face. "I feel very fortunate that the actors were just so deeply talented that they could take on that," Ross said. "And it wasn't just voice and eye contact, ... they had to act with their hands and as Daveed, act with his shoulders, act with his ears and his angles." "It's interesting because while you can give direction and you can give instruction, you can't persuade or or produce embodiment. ... So whatever that those guys did, it's them, and as a director, as anyone that's there, it's ... a joy to watch people embody something." With this "camera as an organ" way of shooting the film, that also expended to the approach Ross took to not show and sit in the brutality of what the characters in Nickel Boys experience, but rather provide a sensory experience of the impact of trauma, staying true to each person's experience in that moment. "The approach, one, comes from feeling like people of colour have been over indexed with those images. The images of people of colour, they're bountiful in terms of that image," Ross explained. "And then ... culture at large is over indexed with the encounter of those images." "I think immediately, when you question that, and you think about any other method, you realize that there are way more methods to do it otherwise than there are to do it that way. ... What's erased or not explored as thoroughly or viscerally is its effects across time, its ripple effects. I think, maybe even most importantly, literally, if you make the camera an organ and you shoot from the inside of someone, no one's actually seen that happen to them. Very rarely if someone's going through trauma are they looking at the site of the injury while it's occurring. They're either fighting or they're fleeing or they're trying to cope. And with that you realize, again, that what cinema has done, it's producing these images that don't exist typically otherwise." While the vision Ross had for Nickel Boys is incredibly profound, the execution of this vision, in collaboration with cinematographer Jomo Fray, is particularly moving to watch, both from its technical standpoint and emotional feel. "I kind of came in with a really, really strong idea and knowing how I wanted to shoot it, ... and with conversations with [Jomo Fray] we were able to develop it," Ross said. "He basically invented a couple rigs and systems to execute some of the movement with a 6K camera. I didn't think it was really possible to get the fidelity, or to get the density of that image in some of the places we wanted." "He relates to the image really emotionally. I would say one of his deep strength, aside from the technical, is his emotional connection to light, and so he could build the scenes out with the type of touch needed." But while many films try to get to the action and most dramatic moments of their story, Nickel Boys allows the audience to experience its quieter moments. It's those elements that are often rushed through in many films that makes Ross's work feel even more powerful. "When you think about yourself and in most moments of your life, if you trace back every single instance, in between the longer sort of milestones or tentpoles of the day, I feel like most of it is looking around, and like staring at something, or daydreaming, or being slightly aloof with the anxiety of the future in the moment," Ross said. "There is something about the universal experience of perception, and seeing and feeling, that doesn't lend itself to commercial cinema, because of its need to keep someone engaged in a very specific way, and to not lose their attention, and make sure they're satisfied. But I think for a story like this, those in-between moments are more important, because we know the other parts of the story very, very, very, well, and in fact, they're normally filed into a very specific emotional space that I think no longer has that actionable quality it used to have in the '60s, '70s and '80s."
