BATTLE AGAINST SINNERS – AT THE 98th ANNUAL ACADEMY AWARDS

Hosted by Conan O’Brien, the Oscars will air live on ABC and stream live on Hulu on Sunday, March 15, 2026, at 7 p.m. ET/4 p.m. PT, with the official live red carpet show airing at 6:30 p.m. ET/3:30 p.m. PT.

Article by Marcus Siu

With a whopping 16 nominations, “Sinners” shattered the record for most nominations for a film. The previous record of 14 was shared by “All about Eve” (1950), “Titanic” (1997) and “La La Land” (2016). Even with a brand new award category for Achievement in Casting this year, “Sinners” still would have landed 15 nominations and would have broken the previous record.

However, just because a movie has the most nominations doesn’t automatically make it a Best Picture winner. Look what happened to “La La Land” with it’s 14 nominations ten years ago. It lost to “Moonlight” which was only nominated for eight. For this year’s awards, the question remains, will the Academy choose “Sinners” (14 nods) over “One Battle After Another” (13 nods) for Best Picture?

LEONARDO DI CAPRIO as Bob Ferguson in “One Battle After Another.” A Warner Bros. Pictures Release.
Photo Courtesy Warner Bros. Pictures

If you do a category comparison, both films match up evenly except for two minor differences. “One Battle After Another” has an two supporting actors nominated whereas “Sinners” has only one, but “Sinners” was a nominated in two other categories; Costume Design and Makeup & Hairstyling.

Looking at “One Battle After Another’s” characters, you really can’t blame the costume designer, makeup or the hairstylist for not getting a nomination since neither is critical to the script. Perhaps the costume designer deserves a special honorary Oscar for designing the plaid bathrobe that DiCaprio wore, if it was designed at all instead of bought off the racks at a T.J. Max store. Certainly, it was a memorable robe in a memorable role.

With the Academy’s preferential ballot system voting for Best Picture, I think more people will score “One Battle After Another” in the top three positions, whereas “Sinners” may get a lot of first place place votes, but not as many in the top three, since stories about vampires aren’t taken as seriously as human ones in the Academy, no matter how great the screenplay is.

When was the last time a Best Picture movie won with vampires being central to the story? I’m not saying it couldn’t happen, but “One Battle After Another” probably resonates in todays sociopolitical climate, especially in these polarizing times in the new modern day ICE age we now live in.

MICHAEL B. JORDAN as Smoke and as Stack, in Warner Bros. Pictures’ “SINNERS,” a Warner Bros. Pictures release. Courtesy of Warner Bros. Pictures

Rather than giving “Sinners” Best Picture, it makes sense to recognize the film by giving the Best Actor Oscar to Michael B. Jordan, especially with the challenges of playing the two leading roles opposite himself. Sure, Wagner Moura played three characters in “The Secret Agent”, but to play off oneself sharing the screen as brothers, “Smoke” and “Stack”?

Without this extraordinary performance, “Sinners” would not have been the great movie that it is. In fact, you can say the same about the entire cast along with fellow nominees, Delroy Lindo and Wunmi Mosaku. “Sinners” should and will win for Best Casting.

In addition to the newcomers from “Sinners”, there are a lot of new faces at the Oscars this year. In the acting categories, 11 individuals are first-time nominees (Rose Byrne, Jacob Elordi, Elle Fanning, Michael B. Jordan, Inga Ibsdotter Lilleaas, Delroy Lindo, Wunmi Mosaku, Wagner Moura, Renate Reinsve, Stellan Skarsgård and Teyana Taylor).

Timothée Chalamet
Courtesy of A24

When “Marty Supreme” was released last Christmas, Timothée Chalamet quickly became the front-runner to win the Best Actor. Just within two weeks after the film was released, he won Best Performance by a Male Actor in a Motion Picture – Musical or Comedy at the Golden Globes and also Best Actor at the Critics Choice Awards with its early momentum and buzz. He was simply brilliant in the role of the title character, which is also up for nine Oscars, including Best Picture.

However, the movie lost steam and the buzz dissipated quickly. Perhaps, if he didn’t play such a self-centered loathing character or if the movie was more about opera or ballet instead of Ping Pong, it might have resonated with the older and mature Academy voters. Sorry to say, Chalamet will need to be a little more patient this time around as he’ll have to continue to pursue “greatness” all over again at his very young age of thirty. If he gets nominated next year, he will be in the company of six “great” actors: Marlon Brando, Al Pacino, Russell Crowe, Bradley Cooper, William Hurt and Gary Cooper.

Jessie Buckley stars as Agnes and Joe Alwyn as Bartholomew in director Chloé Zhao’s HAMNET, a Focus Features release. Credit: Agata Grzybowska / © 2025 FOCUS FEATURES LLC

Probably the “surest” prediction in the Acting category that you can bet and not lose money for, if that’s your thing, is that Jessie Buckley will win hands down for Best Actress for “Hamnet”. Not only would it be a win for Buckley, who has taken all the award show, but it will give “Hamnet” a sense of accomplishment and recognition for Co-Writer/Director Chloe Zhao and the rest of the cast and crew.

Had Buckley’s latest movie “The Bride” come out during before the Academy voting period, there could have been a tremendous backlash. Finicky voters could have easily changed their mind, as the movie bombed at the box office. It earned $7.3 million domestically and $13.6 million globally in its first week against an estimated $80–$90 million production budget. Perhaps, she may be the current front-runner for Worst Actress at the Razzie Awards next year. That would be a rare feat to win an Oscar one year and a Razzie the next.

SUPPORTING VILLIANS

AMY MADIGAN as Aunt Gladys in New Line Cinema’s “Weapons,” a Warner Bros. Pictures release.
Photo Courtesy Warner Bros. Pictures

It’s been forty years since Amy Madigan received her first nomination in 1985 for “Twice in a Lifetime”. She just received her second portraying Aunt Gladys, the unforgettable voodoo witch character from “Weapons”. Her competition in the Best Supporting Actress category are all first time nominees, most who are not household names yet and are relatively new to the scene. The exception being Elle Fanning for “Sentimental Value”, who was nominated along with her co-star Inga Ibsdotter Lilleaas who between them will probably split votes. Madigan’s main competition will be Teyana Taylor for “One Battle After Another”, who won the Golden Globe for Best Supporting Female Actor – Motion Picture.

However, I expect Taylor’s co-star, Sean Penn, who plays the villainous and unforgettable Colonel Steven J. Lockjaw to win for Best Supporting Actor. With Penn being an actor’s actor, sharing the screen alongside nominees DiCaprio, Del Toro, newcomers Taylor and Infiniti, his character links them all together.

(L-r) Director/Writer/Producer PAUL THOMAS ANDERSON, LEONARDO DI CAPRIO and BENICIO DEL TORO on the set of “One Battle After Another.” A Warner Bros. Pictures Release.

Penn also made it obviously clear from interviews that Director Paul Thomas Anderson is a “brilliant” and “touched” filmmaker with “no relationship with convention”. Penn describes “One Battle After Another” as a “must-see” film. Penn rarely campaigns, but seems he seemed especially proud of this film, which is sometimes referred to as a “masterclass in villainy” in which Penn aptly demonstrates. 

Penn’s main competition will be first time nominee, veteran Stellan Skarsgård for his nuanced and exquisite performance in “Sentimental Value”, but I’m expecting Penn to receive his elite third Oscar, a feat only accomplished only seven times, and only three times by a male actor.

Both Penn and Madigan were so deeply transformational in their roles and their characters will surely be talked about for generations to come. This time, I hope the bad guys (and gal) win.

(L-r) TEYANA TAYLOR as Perfidia and SEAN PENN as Col. Steven J. Lockjaw in “One Battle After Another.” A Warner Bros. Pictures Release. Photo Courtesy Warner Bros. Pictures

CONAN

For those who saw the 97th Annual Academy Awards with host Conan O’Brien will never forget how he opened up the show. It was body horror comedy at its best with his parody of “The Substance”, where he emerged from a rubber replica of Demi Moore’s torso.

Expect more surprises from host Conan O’Brien.

Conan O’Brien helps with the Red Carpet rollout for the 98th Oscars® on Wednesday, March 11,2026.
© 2026 Academy of Motion Picture Arts and Sciences

WHAT ELSE TO LOOK FORWARD TO

Bridesmaids cast reunion is planned for the 98th Academy Awards to celebrate the hit comedy’s 15th anniversary, with stars Rose Byrne, Kristen Wiig, Maya Rudolph, Melissa McCarthy, and Ellie Kemper expected to participate.

Also “There’s also going to be a Marvel reunion for the superhero fans. So we’re gonna have superstar superheroes, and there is also going to be an extraterrestrial on the stage. So you can figure that one out.”, Oscars telecast executive producer Katy Mullan said at the Oscars press conference this week.

Look

MUSIC PERFORMANCE HIGHLIGHTS

The “KPop Demon Hunters” moment begins with a fusion of traditional Korean instrumentalists and dance, celebrating the folklore and cultural inspiration that anchors the story behind this animated blockbuster. As part of this experience, EJAE, AUDREY NUNA and REI AMI, the singing voices behind HUNTR/X, will perform the Oscar®-nominated original song “Golden” from the film.

The “Sinners” moment explores the role music plays in the film’s storytelling and translates this into a cinematic live moment on the Oscars stage. Miles Caton and Raphael Saadiq will perform the Oscar-nominated original song “I Lied To You,” and they will be joined by Misty Copeland, Eric Gales, Buddy Guy, Brittany Howard, Christone “Kingfish” Ingram, Jayme Lawson, Li Jun Li, Bobby Rush, Shaboozey and Alice Smith in an homage to the film’s singular visual style.

OSCARS SO GLOBAL

A sign that that shows the Oscars are becoming more global is that a record four non-English language performances are nominated this year (Inga Ibsdotter Lilleaas, Wagner Moura, Renate Reinsve and Stellan Skarsgård). Also, “The Secret Agent” and “Sentimental Value” are the 12th and 13th non-English language films to be nominated for both International Feature Film and Best Picture in the same year. In fact, for the eighth year in a row, at least one non-English language film has been nominated in the Best Picture category.

MINDING THE GAP

Women are increasingly getting their due and recognition in the Academy with a record 76 women nominated this year. The previous record of 71 was set in 2023. Chloé Zhao’s nomination for Hamnet is the 11th Directing nomination for a woman. She is the second woman to receive multiple directing nominations, following Jane Campion. For the seventh consecutive year, at least one film nominated for Best Picture has been directed by a woman.

In addition, women have been nominated for several technical categories this year. For example, with their nomination for Sirāt, Amanda Villavieja, Laia Casanovas and Yasmina Praderas become the first all-women sound team (production sound mixing, supervising sound editing and rerecording mixing) to be nominated for a sound award, Autumn Durald Arkapaw (Sinners) is the fourth woman to be nominated for Cinematography, and Charmaine Chan becomes the sixth woman to be nominated in the Visual Effects category.

Nominees for the 98th Oscars® were celebrated at the Nominee Luncheon held in the International Ballroom at the Beverly Hilton on Tuesday, February 10, 2026.
© 2026 Academy of Motion Picture Arts and Sciences

MLS Entertainment’s Oscar Predictions:

Best Picture: “One Battle After Another”
Best Actor: Michael B. Jordan, “Sinners”
Best Actress: Jessie Buckley, “Hamnet”
Best Supporting Actor: Sean Penn, “One Battle After Another”
Best Supporting Actress: Amy Madigan, “Weapons”
Best Director: Paul Thomas Anderson, “One Battle After Another”
Best Adapted Screenplay: Paul Thomas Anderson, “One Battle After Another”
Best Original Screenplay: Ryan Coogler, “Sinners”
Best Cinematography: “One Battle After Another”
Best Costume Design: “Frankenstein,” Kate Hawley
Best Film Editing: “One Battle After Another,” Andy Jurgensen
Best Makeup and Hairstyling: “Frankenstein,” Mike Hill, Jordan Samuel and Cliona Furey
Best Music (Original Score): “Sinners,” Ludwig Göransson
Best Music (Original Song): “Golden” from “KPop Demon Hunters”; music and lyric by Ejae, Mark Sonnenblick, Joong Gyu Kwak, Yu Han Lee, Hee Dong Nam, Jeong Hoon Seon and Teddy Park
Best Production Design: “Frankenstein,” production design: Tamara Deverell; set decoration: Shane Vieau
Best Sound: “F1,” Gareth John, Al Nelson, Gwendolyn Yates Whittle, Gary A. Rizzo and Juan Peralta
Best Visual Effects: “Avatar: Fire and Ash,” Joe Letteri, Richard Baneham, Eric Saindon and Daniel Barrett
Best Animated Feature Film: “KPop Demon Hunters”
Best International Feature Film: “Sentimental Value”
Best Documentary (Feature): “Mr. Nobody Against Putin”
Best Documentary (Short Subject): “All the Empty Rooms”
Best Short Film (Animated): “Butterfly”
Best Short Film (Live Action): “Two People Exchanging Saliva”

Best Casting: “Sinners,” Francine Maisler

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EXPERIENCE THE 2026 OSCAR NOMINATED SHORT FILMS IN THEATERS

Article by Marcus Siu

The 2026 Oscar Nominated Short Films opens Friday, February 20th at a movie theater near you. There are three separate programs and admissions: Live Action, Animation, and Documentary; five nominated shorts in each category.

The program will be presented by acclaimed filmmaker, writer, and actor Taika Waititi, who won an Oscar for the brilliant and hysterical “JoJo Rabbit” in 2020.

Waititi, also an Oscar® nominee for Live Action Short Film for Two Cars, One Night (2004), commented, “Short films occupy a singular space in the global filmmaking community, inviting artists to experiment, challenge conventions, and tell stories with unparalleled creative freedom.”

With Waititi on board, it guarantees to be a memorable event.

https://shorts.tv/theoscarshorts/tickets

TRAILER

Each year it seems more and more theaters are adding the Oscar Nominated Short films to their programming as there is a increasing interest in seeing these short films on the big screen from around the globe. This surely is a bright spot for the generally troubling film industry these days.

There are many short films that often get neglected by the general public, but deserved to be seen. The US represents six of these films. Ireland, France, and Israel have multiple mentions, along with the UK and Canada also represented.

Interestingly, out of the fifteen films from the three categories, eleven are available to stream and six of those eleven can be streamed are on YouTube for free. Five of them are available to stream on premium channels, Netflix, HBO Max and Disney Plus.

I have provided links below for the fifteen titles, which include nine trailers and six titles that can be shown in its entirety, with two of those films sponsored from the “New Yorker”: the Live Action short, “Two People Exchanging Saliva” and the Animated short, “Retirement Plan”.

The others available for free streaming include three animated shorts including, “The Girl Who Cried Pearls”, “Butterfly” and “Forevergreen”. Surprisingly “Jane Austen’s Period Drama” is also free on YouTube in 4K, with Emma Thompson as the “Executive Menstrual Advisor for the film.

However, the theatrical release is the way to go. I would strongly urge you to see these in the theaters, the way it was meant to be seen.

LIVE ACTION

BUTCHER’S STAIN

ISRAEL/26 MINS/2025

Director: Meyer Levinson-Blount

Synopsis

Samir, a Palestinian butcher working at an Israeli supermarket, is accused of tearing down the Israeli hostage posters in the break room. Samir sets out to prove his innocence in order to keep his job he desperately needs.

A FRIEND OF DOROTHY

UK/21 MINS/2025

Director: Lee Knight

Synopsis

A FRIEND OF DOROTHY is a tender story of loneliness and unexpected friendships.

JANE AUSTEN’S PERIOD DRAMA

USA/12 MINS/2024

Director: Steve Pinder and Julia Aks

Synopsis

England, 1813. Miss Estrogenia “Essy” Talbot gets her period during a long-awaited marriage proposal. Mr. Dickley mistakes the blood for an injury and rushes off to fetch a doctor. While he’s gone, Essy’s sisters plead with her not to imperil her engagement by telling Mr. Dickley the truth. But when he returns, Essy barrels ahead, sharing every little bloody detail.

THE SINGERS

USA/18 MINS/2025

Director: Sam A. Davis

Synopsis

THE SINGERS is a short film adaptation of a 19th-century short story written by Ivan Turgenev, in which a lowly pub full of downtrodden patrons connect unexpectedly through an impromptu sing-off. With a cast comprised of viral video singing talents and other one-of-a-kind personalities from the unlikeliest corners of the internet, the film is an experimental docu-musical hybrid crafted like an improvisational play.

TWO PEOPLE EXCHANGING SALIVA

FRANCE/USA/36 MINS/2024

Director: Natalie Musteata and Alexandre Singh

Synopsis

In a society where kissing is punishable by death, and people pay for things by receiving slaps to the face, Angine, an unhappy woman, shops compulsively in a department store. There, she becomes fascinated by a playful salesgirl. Despite the prohibition of kissing, the two become close, raising the suspicions of a jealous colleague.

ANIMATED

BUTTERFLY

FRANCE/15 MINS/2024

Director: Florence Miailhe

Synopsis

A poignant retelling of Olympic swimmer Alfred Nakache’s life, from his rise to fame to surviving Auschwitz, presented as memories flashing back during his final swim.

ÉIRU

IRELAND/13 MINS/2025

Director: Giovanna Ferrari

Synopsis

When the water mysteriously disappears from the well in a warrior clan’s village, an intrepid child descends into the belly of the earth to retrieve it. ÉIRU is the story of a child in search of a challenge, and a goddess in search of a champion.

FOREVERGREEN

USA/13 MINS/2025

Director: Nathan Engelhardt and Jeremy Spears

Synopsis

A joyful adventure featuring an orphaned bear cub and a fatherly tree turns serious when the cub is tempted by the allure of easy food. Fire and deadly danger ensue as the cub is left bereft of hope and on the verge of a ruinous end, until the sacrificial love of the tree falls into place.

THE GIRL WHO CRIED PEARLS

CANADA/17 MINS/2025

Director: Chris Lavis and Maciek Szczerbowski

Synopsis

A haunting fable about a girl overwhelmed by sorrow, the boy who loves her, and how greed leads good hearts to wicked deeds.

RETIREMENT PLAN

IRELAND/7 MINS/2024

Director: John Kelly

Synopsis

RETIREMENT PLAN tells the story of Ray (Domhnall Gleeson) as he fantasises about everything he’d love to do in retirement, once he finally has the “time.”

THE THREE SISTERS

ISRAEL/CYPRUS/14 MINS/2024

Director: Konstantin Bronzit

Synopsis

Three sisters live a lonely life on an isolated island, each in their own small house. One day, circumstances develop in such a way that they are forced to rent out one of the houses.

DOCUMENTARY

ALL THE EMPTY ROOMS

USA/33 MINS/2025

Director: Joshua Seftel

Synopsis

In this moving short documentary, a journalist and a photographer set out to memorialize the bedrooms left behind by children killed in school shootings.

ARMED ONLY WITH A CAMERA: THE LIFE AND DEATH OF BRENT RENAUD

USA/38 MINS/2025

Director: Craig Renaud and Brent Renaud

Synopsis

An intimate chronicle about documentary filmmaker Brent Renaud, the first American journalist killed while reporting on the Russo-Ukrainian War.

CHILDREN NO MORE: “WERE AND ARE GONE”

ISRAEL/36 MINS/2025

Director: Hilla Medalia

Synopsis

In Tel Aviv, activists gather weekly to demonstrate their opposition to the war in Gaza with a silent vigil for the children killed in Israeli attacks.

THE DEVIL IS BUSY

USA/31 MINS/2024

Director: Christalyn Hampton and Geeta Gandbhir

Synopsis

The film chronicles a day on the frontlines in the battle for reproductive rights at a women’s healthcare clinic.

PERFECTLY A STRANGENESS

CANADA/15 MINS/2024

Director: Alison McAlpine

Synopsis

In the dazzling incandescence of an unknown desert, three donkeys discover an abandoned astronomical observatory and the universe. A sensorial, cinematic exploration of what a story can be.

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WAR IS HELL ARMED ONLY WITH A CAMERA UNLESS YOU ARE BRENT RENAUD

“Armed Only with a Camera: The Life and Death of Brent Renaud”. Courtesy of HBO

Article by Marcus Siu

The diagnosis of autism tells you very little about a person. I can be as calm as a Zen monk in a firefight or a disaster zone, but for years a cocktail party in Brooklyn was absolutely terrifying.” – Brent Renaud

This memorable quote is from the HBO documentary, “Armed Only with a Camera: The Life and Death of Brent Renaud”. The film chronicles the life and work of journalist Brent Renaud, the first American journalist killed while reporting on the Russo-Ukrainian War in 2022.

The film was directed by his younger brother and lifetime collaborator, Craig Renaud, who worked most of his time by his side for well over twenty years. It is an exceptional tribute not only to his courageous brother who he always looked up to since childhood, but for all the devoted journalists searching for truth and understanding in extremely dangerous situations all around the world where waking up the next morning is just not lightly taken for granted.

As recipients of numerous awards, including the Peabody Award, two DuPont-Columbia Awards, and the Edward R. Murrow Award, the Renaud brothers are certainly no strangers to precarious places from around the globe. They covered the wars in Iraq and Afghanistan, the 2010 earthquake in Haiti, the political crises in Egypt and Libya, conflicts in Africa, Mexican drug war, and the refugee crisis in Central America.

When Brett told me that he wanted to be a documentary filmmaker, I had to be there alongside him.
Courtesy of HBO

Their vérité style of filmmaking captured subjects to reveal themselves organically in real time during chaos and turmoil. “He was a very compassionate person,” says Craig, emphasizing that Brent’s focus on conflict zones “was never about just trying to get to the frontlines … He wanted to humanize the people that were there.”

Journalists have always faced high risks from sniper fire, rocket strikes, and car-mounted attacks, particularly near front lines, media outlets, and hotels in cities like Kharkiv and Kyiv in the Ukraine. For the brothers, the thought of losing their lives or getting kidnapped has always been part of an ongoing conversation. If the unspeakable was to happen, they mutually agreed to continue filming.

As they were both working on their current project, Brent immediately went to the border of Ukraine and Poland to film for a week, pushing further into the front lines. Accompanied by his friend and colleague, Juan Arredondo, who was one of the photojournalists filming Ukrainian civilians evacuating over one of the bridges in Irpin when they were targeted by soldiers who shot at them, wounding Arrendondo and killing Renaud.

“I was not on the trip. I was producing on the project, but I did not go to Ukraine and and honestly, we underestimated the danger at the time.”, Renaud recollected. “We were finishing up a project about refugees all over the world. It was just a last minute decision. The war in Ukraine broke out, and it was the largest refugee crisis”.

Brent Renaud filming in Ukraine, 2022. Image credit: Juan Arredondo

KEEP FILMING

After receiving the horrendous news about Brent’s death from Arredondo who barely survived the attack himself, it was Renaud’s friend and colleague, Christof Putzel who volunteered to go over with Renaud so they could film some of those sections and at the same time, recover Brent’s body and his final footage from Ukraine to bring back to their childhood home in Arkansas. They also assisted Arredondo back to safety after four “grueling” surgeries in an ambulance back to the Polish borders.

“I would say the decision (to make a film) was made the second I got the phone call from Juan. I don’t know if it was consciously made, but I just think it was.”, Renaud continued. “Brent and I had always done and what we had talked about, we have been doing this for 20 years and we had been in many very dangerous situations together and had many conversations as brothers about the “what ifs”. You know, what if one of us get killed or kidnapped, what do we do? … We can keep filming.”

That is exactly what Craig did. He documented Brent’s life AND death as a true documentarian would, including shooting footage of his deceased brother in his casket after he arrived in Ukraine, observing where the bullet penetrated through his neck. Renaud remarked, “Always thought it was important not to hide from the reality of what violence and war does to people. So I know he would have wanted me to film this.”

“Armed Only With A Camera: The Life And Death Of Brent Renaud” Courtesy of HBO.

Following Renaud’s death, dozens of journalists have been killed or wounded in Ukraine while covering the war, often due to direct, targeted gunfire or shelling by Russian forces despite having a “Press” ID badge. Reports indicate over 100 journalists have been victims of crimes, with at least 35 wounded in the field. Unfortunately, International humanitarian law (IHL) does not provide any additional protection for journalists during a war. Journalists are civilians if they do not take part in hostilities.

Director Craig Renaud in a Q&A for “Armed Only With A Camera: The Life And Death Of Brent Renaud” with Academy Award winning director, Rick Goldsmith. Photo by Carol Williams.

A DANGEROUS PROFESSION ON A NEW LEVEL

“It’s a very big problem and it’s the worst that it’s ever been.” Renaud remarked. “We’ve been partnering with the Committee to Protect Journalists as we bring this film out. We’re constantly communicating with them. I just had a phone call with them a few days ago that once again 2025 is the most dangerous year on record for journalists.”

“It felt like every single day more journalists were being killed and and then we felt like this is bigger than just Brent. Brent is symbolic of this bigger issue and so I think the risk to journalists is a big part of it.” Renaud explained.

“I also think for me, doing this for 20 years and the situation we find ourselves in now which is scary, where if it feels like we are being driven towards more and more conflicts. I don’t think people can possibly understand what it is like for individuals in these conflicts, unless you live it, and I think that’s why we wanted to do this vérité approach because we want to try to drop people into these situations and make you uncomfortable with the violence because it should be.”

“I went home, you know, picked up my brother, went home. And I’ve lived in safety for the last 3 1/2 years editing this film and I think about the Ukrainians that ever since I stepped foot out of Ukraine are still living this and and it’s intensifying every single day and I cannot imagine the level of pain that they that they suffer.”

THE HEALING PROCESS

“Part of it, too is…as long as we are talking about Brent…saying his name…as long as I was working on this film and and taking it out to screenings like this…I feel like he is immortal and that was a big part of this for me and my healing process…but yeah, I think I’m doing pretty good…as good as I can be at this point, and as long as I’m working…I’m pretty OK.”

I’m sure Craig will feel pretty okay come March 15th at the Academy Awards when they announce the nominations for the Best Documentary Short Film with Brent Renaud’s name in the title along with his own name and producer Juan Arredondo and the emotion he will feel with the amount of applause it will get, even if he doesn’t win the Oscar…

But if he does win, I’m sure Brent will be there with him onstage…

Synopsis: On March 13, 2022, filmmaker Brent Renaud was killed by Russian soldiers – the first American journalist to die while reporting on the war in Ukraine. His younger brother and collaborator, Craig Renaud, recovered Brent’s body and his final recordings from Ukraine and brought them back to their childhood home in Arkansas. As Brent’s journey to his final resting place unfolds, the film chronicles the years he and his brother spent covering some of the world’s most dangerous conflicts.

The vérité film includes harrowing footage of the brothers’ reporting from around the globe, including time embedded with the Arkansas National Guard in Iraq, the aftermath of the 2010 earthquake in Haiti, the war in Somalia, immigrants’ journeying from Honduras to the United States, and Brent’s reportage upon arriving in Ukraine. Despite bearing witness to devastating loss and suffering, Brent fearlessly covered stories from the front lines, while empathically capturing the impact on innocent people. Unflinching in its depiction of death, loss, and the toll of war, the film is Brent’s ultimate testament to the critical value of wartime reporting and a tribute to journalists providing on-the-ground, life-threatening coverage of world events. As journalism becomes one of the most dangerous professions in the world, ARMED ONLY WITH A CAMERA: THE LIFE AND DEATH OF BRENT RENAUD is dedicated to Brent and all the devoted journalists who use their cameras to work for truth and understanding.

Credits: HBO Documentary Films presents ARMED ONLY WITH A CAMERA: THE LIFE AND DEATH OF BRENT RENAUD, a Renaud Brothers Film in association with DCTV. Directed and produced by Craig Renaud and Brent Renaud; produced by Juan Arredondo; executive produced by Jon Alpert. For HBO: executive producers, Nancy Abraham, Lisa Heller, and Tina Nguyen.

The film had its world premiere at the SXSW Film Festival where it won the Audience Award in the Documentary Short competition.

The film has also been nominated for Best Documentary Short Film at this year’s 98th Annual Academy Awards.

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BAD SANTA – THE MAKING OF A CULT CLASSIC WITH DIRECTOR TERRY ZWIGOFF

Billy Bob Thornton in Bad Santa (2003) © 2003 Dimension Films. 

Article by Marcus Siu

It’s been twenty two years since the release of Bad Santa. While the R-rated holiday film didn’t quite make the rotation of TCM’s Christmas classics such as, “It’s a Wonderful Life”, “Miracle on 34th Street”, “A Christmas Story”, “Home Alone”, and “Elf”, it certainly has been a cult favorite among fans everywhere who appreciate raunchy dark comedies showcasing deeply flawed individuals trying to find human connection in a society filled with Holiday cynicism.

When the script’s final draft was sent to Universal Pictures, the studio rejected it because “It was the foulest, disgusting, misogynistic, anti-Christmas, anti-children thing we could imagine. Some people found it mean spirited, and were probably turned off by all the sex and profanity throughout the movie and left the theater before it was over.

Director Terry Zwigoff was fresh on the critical success of “Crumb”, the Sundance winner of the 1997 Grand Jury prize for Best Documentary featuring an intimate portrait of controversial cartoonist Robert Crumb and his traumatized family, (also produced by David Lynch), and the Oscar nominated coming of age movie, “Ghost World”, starring Steve Buscemi and Scarlett Johansson and Thora Birch which Zwigoff and Daniel Clowes were nominated for Best Adapted Screenplay.

With a reputation about telling stories of eccentric characters, Zwigoff’s agent has always been “pestering” him to get projects going and got hold of the script from “Bad Santa”. “My agent sent me this script, but she sent it with a note saying, you’re going to love this, but you’re never going to get it made. Nobody’s going to make this film”, Zwigoff recalled.

“But I said this dialogue is just so incredible. I mean, I just read three lines of that script, and I thought, I just have to make this film.” The three lines were “Thank the **** Christ”, “Sweet juice for Jesus”, and “This ain’t no Chinese menu, jagoff!”.

The Coen Brothers got hold of the script and Zwigoff thought they were going to invite him to lunch just to chew him out. Surprisingly, they loved the script and were enthusiastic in producing the film. They brought their ideas into the script.

“They pulled out this crumpled up newspaper article about a guy who was a drunken Santa”, Zwigoff recalled “The idea is this guy’s drunk and he drinks beer and stuff and he says, Santa… and they said, that’s it.”

As months passed by, Zwigoff thought the deal was dead and he was ready to move on to something else, but then he got a call from Bob and Harvey Weinstein. They just saw “Ghost World” and wanted to do a film with him. However, they did not realize that they had previously passed on the script of “Ghost World” that Zwigoff sent to them in the mail prior to when it got the green light.

FIVE GREAT ACTORS TO POSSIBLY PLAY BAD SANTA

Regardless of this omission, the Weinstein’s were all aboard and had mentioned five names to play Willie’s “Bad Santa” character, including A-listers Robert DeNiro, Jack Nicholson, and Sean Penn. Nicholson really wanted to play the role but had already signed on with “Something’s Gotta Give”. DeNiro had his own personal “shtick” comedy that didn’t quite match Zwigoff’s ideas, but also didn’t want to deal with Zwigoff’s producers. Penn bowed out when the Weinstein’s demanded that he audition for the role. Lastly, Bill Murray was also considered but didn’t return any of Zwigoff’s phone calls, which just left one actor named Billy Bob Thornton.

“So they sent him (Thornton) the script, and he wanted to talk to me and Weinstein, and he called us on a three-way call, and he said, “I’m in, I’ll do it. I love the script, I love Terry, but I’m not doing any profanity or anything sexual.” Zwigoff said, “I’m like, okay, we got a 22-minute film now.”

“So Weinstein said, forget it, and hung up on him and called me back and said, “this isn’t going to work, so we have to rethink this.” I said, “okay, so I’m dead in the water again” and then he had to change of heart and called back and said “He’d do it.”, Zwigoff added. “I don’t know what that was about. I don’t know, to this day.”

When casting for Sue, the bartender who has a fetish for Santa Claus, played by Lauren Graham, Zwigoff first had Mira Sorvino in mind for the role. However, when he mentioned her name to the Weinstein’s, they had hung up on him. Zwigoff took the hint.

THE DIRECTOR’S CUT

Director Terry Zwigoff – Bad Santa (2003) © 2003 Dimension Films. 

There were several cuts to Bad Santa. The Theatrical Cut, The Unrated Cut, and the Director’s cut. Most people have seen the theatrical cut and many did not like the director’s cut, even though it mirrored the character driven script. It was too dark for many people according to Zwigoff. The Unrated Cut just adds more R-rated raunchiness and doesn’t add much punch to the character development.

As far as the Director’s Cut, the best scene in the movie according to Zwigoff was written by his wife, Melissa Axelrod; which is known as the report card scene, where the kid is showing his report card.

“The kid is saying something like, “I know you’re not Santa Claus. I just thought maybe you’d want to give me a present because we’re friends.” Zwigoff said. “I thought it was a very touching scene and originally the scene was written where the Santa character just blows the kid off at the end.”

“When they saw that script, they said, I know you’re going with Billy Bob, but we just work with him and, I don’t know if it’s going to be that easy for him to naturally evidence self-hatred.” Zwigoff continued to push the method-actor Thornton to become the Walter Matthau character from the “Bad News Bears” and was always on his case to be more haggard…be more self-hating and more run down that Thornton had enough and didn’t come back to the set for two weeks.

“He was in a drunken, belligerent state through most of the filming, which may have helped his performance.” Zwigoff acknowledged how great he was, especially when after he read the voiceover on that letter at the end which he thought would take 400 takes. Thornton just did it in one take. “He just came in the trailer, here it is, get a microphone, read it once, it was perfect.”

However, Thornton was never very good at improvising with the delicate script that was actually written with James Gandolfini in mind on behalf of the Coen Brothers request. “We’d just throw it off, and me and the editor, Robert Hoffman, in that editing room, we would just sit there and try to retain the rhythm that they had created.” Zwigoff said.

Billy Bob Thornton, Bernie Mac, and Tony Cox in Bad Santa (2003) © 2003 Dimension Films. 

MICKEY ROONEY BEGGING FOR THE ROLE OF THE ELF

Zwigoff has an amusing story about Mickey Rooney auditioning for the role of Marcus, the Elf.

“So he comes in, and he hands me his resume, his headshot and I say, “Mickey, you’re like the biggest star in the world. You’re a legend”…I glance at his resume with 280 credits. He wants to read, and the Weinstein’s insist every reading gets videotaped and FedExed to them so they can approve or disapprove.”

“So he sets up the camera, he starts reading, and every time he gets to a profanity, he skips it and says, “blank”. So he says, “your mother blank and blank”. And I go, “Well, Mickey, you know, you got to say the profanity”. He says, “Well, there’s a lady in the room, the casting director”. She says, “I’m fine, Mickey, I’m the casting director”. Rooney responds, “I’ll do it on the day. I’ll do it on the day”. I’ll say, “Just do it today, because I got to make this leap.”

Zwigoff was thinking, “I got to get him hired and he was sort of in and out. He had these moments that were so brilliant and so great…and he’s begging me at this point.”

Rooney asks, “Do you think I have the job?… I really need this job… God, this is the greatest part I’ve ever read… Oh, you’ve got to help me, please…and he literally falls with me. He’s pulling on my pants… Jeez, how do I let this guy down easy, you know? …I just said, “Mickey, you’re just too tall. The guy’s 3 foot 6 in the script. I’ve got to have a guy 3 foot 6″ and so he was okay with that and he left and Tony Cox walked in and he was three foot six.”

Even Peter Dinklage auditioned for the role, but he wasn’t funny. Zwigoff acknowledged his greatness as an actor, but he just wasn’t funny to him. Many have auditioned that with far less talent than him that weren’t funny either.

“I think what it had to do with, I might be wrong, is rather mysterious and it’s rather subjective, but I really think was the fact that Tony Cox’s face naturally took on these sort of cartoonish expressions when he reacted…It was still truthful, but it was bigger. And Peter Dinklage’s face was always, sort of deadpan, but he’d say the lines, he’d get a little bit here and there.”

Bernie Mac was one of the busiest actors around during the time of the shoot. He had his own show and working on another movie so he needed Zwigoff to help him rehearse his lines. After a few mornings, they got together and he read his lines with no problem. Mac showed up and his first day of shooting with the scenes with John Ritter where he’s eating that orange, which wasn’t in the script at the time. It was basically just him across the desk from each other.

John Ritter in Bad Santa (2003) © 2003 Dimension Films. 

As soon as they were filming, “He just started delivering his lines like you couldn’t understand a thing he was saying. He was just speaking gibberish and sort of mumbling. And just went on for a while and John Ritter’s looking over at me like, what the, I don’t even know when to come in with my line. When is he done?”

“I finally took Bernie aside. I said, “Bernie, okay, what’s going on?” and he said, “Oh, I’m sorry. I’m just really nervous. You know, I just, I grew up like, worshiping John Ritter and it’s just like, I just can’t do the scene.” I said, “We love you, Bernie. He loves you” and then John came over to him and I don’t know what he said to him. He put him completely at ease.”

Zwigoff had an idea to sort of help him be a little less self-conscious.

“I thought, well, what if you peel this orange while the scene’s going on? You need a bite if you want, you know. So he starts eating this orange and then he did it in a sort of sloppy way at one point.” I said, “Play that up.” He said, “What?” I said, “This sloppiness, like, you’re eating in front of this guy who’s so prudish that he’s sort of, whenever he sees or hears anything off color, he sort of vomits a little bit inside his mouth. And it’ll really help his performance.”

Unfortunately, this would be the very last role for John Ritter.

Brett Kelly in Bad Santa (2003) © 2003 Dimension Films. 

THE KID FROM CANADA

“When it came to the kid, the Coen brothers also said, “You know, this is going to be really hard to find a kid who can remember all this dialogue and pull this off…in the script, he’s written like this sort of fat, weird kid. All I could think of was Joe Cobb from the Our Gang comedies from the 20s… a kid like that. That’s the instruction I gave the casting people and they went state by state to the entire country and couldn’t find a kid that looked like that. Finally, I went to Canada. They’re about to make me hire this other kid, who was a cute Disney kid and this kid from Canada, they sent me his headshot. and I said, if this, I just fell on the ground laughing. I said, if this kid can even walk and talk at the same time, he’s hired.”

“Brett Kelly came down with his mother. He was wearing exactly the outfit he wears throughout the entire film and I don’t know if his mother was a genius or if he actually dressed this way, but I said, “Whatever you do, stop by the wardrobe and have them copy this or, put this away, put this in moth balls for a few months and don’t wear it out because you’re going to wear that the whole film.”

Smart kid. I think he was in on the joke. That’s a sweet kid. Smart kid.

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THIS YEAR’S SAN FRANCISCO SILENT FILM FESTIVAL COMES TO THE EAST BAY

Article by Marcus Siu

The San Francisco Silent Film Festival is considered to be the largest and most prestigious film festival outside of Pordenone, Italy, for its genre, running nearly 30 years. They continue to present silent films as they are meant to be seen; with beautiful preserved prints on a big screen with live musical accompaniment. Even a person who has never experienced silent film before will be mesmerized and hooked. 

This year’s venue will have a new location, as the San Francisco Silent Film Festival moves from the Castro Theater to the Orinda Theater for this years festival.

For those visiting the Orinda Theater for the first time, it is worth noting that in 2023, the Time-Out website, based in France, listed the the theater as the 23rd most beautiful theater in the world. For San Franciscans, it maybe even easier to get to the new venue, as it is just a four minute walk (according to Googlemaps) from the Orinda BART station.

Charlie Chaplin in The Gold Rush celebrates its 100th anniversary during Opening Night

This year’s festival opens up Wednesday night with Charlie Chaplin’s “The Gold Rush”, which celebrates its 100th anniversary, with live musical accompaniment by the SF Conservatory of Music Orchestra with Timothy Brock conducting.

The festival concludes on Sunday with Buster Keaton’s 1925 “Go West”, which was also released the same year as “The Gold Rush” and is also celebrating its 100th anniversary with live musical accompaniment by the Mont Alto Motion Picture Orchestra.

Film restorers are critical to preserve the films for film festivals as well as for future generations. This is what Robert Harris and James Mockoski have been doing for decades.

If there was ever a Hall of Fame for film restorers, Robert Harris would be inaugurated in the first round. His credits include Abel Gance’s “Napoleon” (1927), “The Third Man” (1949), “Lawrence of Arabia” (1962), “Spartacus” (1960), “My Fair Lady” (1964), Vertigo” (1958), “Rear Window” (1954), “The Godfather” (1972), “The Godfather Part II” (1974).

James Mockoski, who has pretty much restored the entire Francis Ford Coppola American Zoetrope catalogue, including “The Godfather” (1972), “Apocalypse Now” (1979), “One From the Heart” (1981), “The Conversation” (1974), “Tucker: The Man and His Dream” (1988).

In addition, he also restored the Talking Heads “Stop Making Sense” for its 40th Anniversary just last year.

For this years festival, both Harris and Mockoski haves three films that need to be seen to be believed.

The New Klondike (1926) directed by Lewis Milestone

With the World Series fever over with, baseball will still be very much alive at the festival with the newly Harris-Mockoski restored “The New Klondike,” a 1926 baseball comedy, which was recently “lost”. It was directed by Lewis Milestone, who also received an Oscar four years later for directing “All Quiet on the Western Front” which also won Best Picture in 1930.

In addition to “The New Klondike,” include Cecil B. DeMille’s film, “The Affairs of Anatol” (1921) (starring Gloria Swanson) and “Beau Geste” (1926), the winner of Photoplay’s Medal of Honor, an Oscar precursor. Both films will have live musical accompaniment by Mont Alto Motion Picture Orchestra. Both were also restored by Harris and Mockoski.

The festival runs from Wednesday, November 12th thru Sunday, November 16th.

Restored to 1941 original, Orinda Theatre features work of famous theatre muralist Anthony Heinsbergen (1894-1981). Photo Derek Zemrak
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THE THIRTEEN MOST HIGHLY ANTICIPATED MOVIE RELEASES THIS FALL SEASON

Jessie Buckley stars as Agnes and Paul Mescal as William Shakespeare in director Chloé Zhao’s HAMNET, a Focus Features release. Credit: Agata Grzybowska / © 2025 FOCUS FEATURES LLC

Article by Marcus Siu

It’s that time again when movie studios release their most prestigious titles by the end of the year to qualify their FYC films for Awards season. Streaming services, such as Netflix, Apple TV+ and Amazon, usually releases their films in theaters for at least two weeks and then streams them in two to three weeks later to their subscribers.

Look for these films to dominate the Awards season.

A HOUSE OF DYNAMITE (RELEASE DATE: OCTOBER 10, 2025 NETFLIX DATE OCTOBER 24, 2025)

Director: Kathryn Bigelow

AVATAR: FIRE AND ICE (RELEASE DATE: DECEMBER 19, 2025)

Director: James Cameron

BUGONIA (RELEASE DATE: OCTOBER 24, 2025)

Director: Yorgos Lanthimos

FRANKENSTEIN (RELEASE DATE: OCTOBER 17, 2025 NETFLIX DATE NOVEMBER 7, 2025)

Director: Guillermo del Toro

HAMNET (RELEASE DATE: DECEMBER 12, 2025)

Director: Chloé Zhao

IT WAS JUST AN ACCIDENT (RELEASE DATE: OCTOBER 15, 2025)

Director: Jafar Panahi

JAY KELLY (RELEASE DATE: NOVEMBER 14, 2025 NETFLIX DATE DECEMBER 5, 2025)

Director: Noah Baumbach

MARTY SUPREME (RELEASE DATE: DECEMBER 25, 2025)

Director: Josh Safdie

SENTIMENTAL VALUE (RELEASE DATE: NOVEMBER 7, 2025)

Director: Joachim Trier

THE SECRET AGENT (RELEASE DATE: NOVEMBER 26, 2025)

Director: Kleber Mendonça Filho

TRAIN DREAMS (RELEASE DATE: NOVEMBER 7, 2025 NETFLIX DATE NOVEMBER 21, 2025)

Director: Clint Bentley

WAKE UP DEAD MAN: A KNIVES OUT MYSTERY (RELEASE DATE: NOVEMBER 26, 2025 NETFLIX DATE DECEMBER 12, 2025)

Director: Rian Johnson

WICKED FOR GOOD (RELEASE DATE: NOVEMBER 21, 2025)

Director: Jon M. Chu

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JAMES CAMERON ON THE FUTURE OF 3D STORYTELLING AT META CONNECT 2025

Meta’s Andrew “Boz” Bosworth, the Chief Technology Officer (CTO) interviews filmmaker James Cameron. Image: Meta

Article by Marcus Siu

I think we’re looking at a future that’s a whole new distribution model where we can have theater grade 3D basically on your head.”

James Cameron at the Meta Connect 2025 Conference

Mark Zuckerberg has just announced Horizon TV at the Meta Connect 2025 conference this month. It is an exclusive new streaming content hub for its Meta Quest VR headsets, featuring major streaming and media companies who have partnered with Meta, including Disney+ (including Hulu and ESPN content), Prime Video, Peacock, Twitch, DAZN and Pluto TV.

In addition, Meta is collaborating with studios like Universal Pictures and Blumhouse to offer immersive and 3D effects on movies like “M3GAN” and The Black Phone, exclusive to the Quest platform.

“It’s been really neat to see how many people are using Quest to watch video content and it’s just a lot more immersive”, Zuckerberg stated, “so we think that this category watching video content is going to be a huge category both in virtual reality headsets and on glasses too.”

Even though the streaming apps are currently individually available on the Meta Quest, they are not grouped together. This will be much easier for the user to access each app and navigate. More importantly Horizon TV will support Dolby Atmos and Dolby Vision for its rich colors, crisp details and spatial sound for a more immersive experience than you could have with any traditional TV.

“I am really excited about what these new technologies are gonna unlock for artists and entertainers” Zuckerberg continued, “I think that this shift towards more immersive storytelling… it’s gonna be one of the more exciting developments in the coming years and I think that it’s gonna drive a new wave of adoption of virtual reality.”

This is very similar to what Apple did with their Apple Vision Pro headsets in 2024. Apple partnered to launch the Disney+app allowing users to stream content in immersive 3D environments inspired by Disney, Pixar, Marvel, and Star Wars.

Disney’s technology teams, including ILM Immersive and Pixar’s Universal Scene Description (USD) developers, collaborated with Apple to create the enhanced viewing experience, which leverages Dolby Vision and MV-HEVC for high-resolution HDR. This collaboration was a key part of Disney’s strategic vision for spatial computing, with Disney CEO Bob Iger highlighting it as a revolutionary platform for storytelling.

Meta

Zuckerberg introduced movie director James Cameron onstage along with Meta’s interviewer, CTO Andrew “Boz” Bosworth. The legendary filmmaker is well known for pushing the boundaries of filmmaking by introducing new cutting-edge CGI 3D technology featured with his ground-breaking blockbuster movies.

During a time when movie theaters and filmmakers were mostly still using analog, he helped pioneered the way for digital film projectors and cameras right before movie they realized 3D would become profitable in the mid 2000’s. He proved it with “Avatar” in 2009, which is still the highest box-office hit of all time. “Avatar: The Way of Water” and “Titanic” are third and fourth on the all-time list, to add to his legacy. He is the most successful director in Hollywood at the box office.

“I just love 3D… I love seeing the end result when it’s done properly and I think it’s how we perceive the world.”, Cameron proclaimed. “Why would we throw away 50% of our of our data and see everything through a single line…it makes no sense to me …I just see the future which I think can be enabled by the new devices that that you have…the Quest series and then some of the new stuff hopefully that’s coming down the line.”

With 3D movies being shown in theaters and at home, the levels of brightness was just not there, which is one of the reasons why 3D has lost its popularity over the years. Movie theater projectors are rarely bright enough, and neither are home projectors. Television does fare better than theaters, but it’s just too dark to see most of the detail.

With all that in mind, Cameron has been fighting with movie theaters over the years to install laser projection systems in order to boost the brightness levels up, but they still continue to use their fifteen year old digital technology. Having an experienced eye of what 3D movies are supposed to look like that he calls “baseline calibration”, he wants to see the light levels beyond the SMPTE (Society of Motion Picture and Television Engineers) standards for theater projection.

“The very very best you’re going to see in the theater is 16 foot-lamberts. Most theaters are at 3 foot-lamberts…one which is like “nits”, but it’s the theater version…the Quest is is at 30 foot-lamberts equivalent.” Cameron argues.

“The brightest gives you the dynamic range, gives you the color space, as it was meant to be and that’s so much more engaging. The work that you guys have done in the in the Quest series to expand the field of view, to get the brightness, to get the spatial resolution to me…it’s like being in my own private movie theater.”

“You mostly look at flat displays: phones, laptops, wall panels, all that sort of thing. This is going to be, a new age. Because we experience the world in 3D, our brains are wired for it, our visual-neural biology is wired for it, and we’ve been able to prove that there’s more emotional engagement, there’s more sense of presence.”

According to Cameron, the future certainly looks promising for the return of immersive 3D storytelling, not only for feature films, but to but everything from short-form content to sports and even news…the low hanging fruit as Zuckerberg calls it.

It certainly looks to be a bright future, at least with VR headsets and future devices down the pipeline. If so…

“I’ll be back”.

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MILLI VANILLI OR THE VELVET SUNDOWN? DISCERNING REAL MUSIC IN THE A.I. ERA

“The Velvet Sundown”

Article by Marcus Siu

Artificial intelligence is impacting the music industry at a rapid pace, offering tools for impromptu creation, production, and even performance. Along with text, images, and videos, generative AI can also produce music, assist with songwriting and production, and even replicate voices in a matter of seconds. Deep learning is based through its training data, which through its underlying patterns and structures is used to produce new data based on the input, which often comes in the form of natural language prompts.

There are numerous websites that use this technique, such as Suni, AIVA, Udio just to name a few, that can generate a complete song with music and lyrics in a certain style, mood, instrumentation, genre, and vocal style with just a brief description and a click of a button. These prompts can be entered directly or created using external tools like ChatGPT, which generates the lyrics.

For example, the user can enter into the Suni song description field “a song in the style of classical music about a ballet dancer struggling to find success in her career”. In just seconds with a click on the “create” button, the user will be able to hear a complete song that sounds like it was written by a semi-professional songwriter, with fairly decent lyrics.

Now, anyone can create music…well at least generate it.

Will the listening music public start listening to music produced entirely by A.I. instead of the real music we know and love?

The answer is many of them already are without really knowing it.

For example, last June, “The Velvet Sundown” (named after “The Velvet Underground”) came out of nowhere and released its first albums on Amazon Music, Apple Music, Spotify as well as other music streaming services: “Floating on Echoes” on June 5, “Dust and Silence” on June 20, and then another on July 14th called “Paper Sun Rebellion”. At their peak, they had well over 900,000 monthly listeners on the streaming platform with their opening track “Dust on the Wind”, (not to be confused with the iconic Kansas song) played over 2.7 million times.

However, there were soon allegations on the bands social media pages that the band was A.I. generated. There was no evidence that this band ever existed. There were no tours, interviews, group websites or any clues whatsoever online. Even many listeners commented that The Velvet Sundown’s music was “soulless” and was missing the “human element”.

The “band” denied all allegations on its X account, claiming it was “absolutely crazy that so-called ‘journalists’ keep pushing the lazy, baseless theory that the Velvet Sundown is ‘AI-generated’ with zero evidence.… This is not a joke. This is our music, written in long, sweaty nights in a cramped bungalow in California with real instruments, real minds and real soul.”

Just a week later, the apparent hoaxer, using the name Andrew Frelon, admitted that he impersonated the band on X and falsely claimed to be a spokesperson for the band in interactions with the media, including a phone interview with Rolling Stone magazine. Frelon finally admitted that the band was 100% A.I. generated using the Suni platform for all the “band”.

“It’s marketing. It’s trolling. People before, they didn’t care about what we did, and now suddenly, we’re talking to Rolling Stone, so it’s like, ‘Is that wrong?’” Frelon questioned.

As with the Spotify subscriber numbers since the “bands” breaking news, over 500,000 subscribers removed their names from the “bands” playlists, a drop of 55% from its peak, as it continues to drop quickly on a daily basis.

The bands Spotify bio eventually changed their description:

“All characters, stories, music, voices and lyrics are original creations generated with the assistance of artificial intelligence tools employed as creative instruments. Any resemblance to actual places, events or persons – living or deceased – is purely coincidental and unintentional. Not quite human. Not quite machine. The Velvet Sundown lives somewhere in between.”

Facebook Page for “The Velvet Sundown”

The real issue is its sudden emergence of its popularity and a growing concern about the future of art, culture and authenticity in the era of advanced generative artificial intelligence. It’s both astounding and appalling that music from A.I. can amass and defraud so many listeners in a relatively short amount of time.

“Personally, I’m interested in art hoaxes,” Frelon continues. “The Leeds 13, a group of art students in the U.K., made, like, fake photos of themselves spending scholarship money at a beach or something like that, and it became a huge scandal. I think that stuff’s really interesting.… We live in a world now where things that are fake have sometimes even more impact than things that are real. And that’s messed up, but that’s the reality that we face now. So it’s like, ‘Should we ignore that reality? Should we ignore these things that kind of exist on a continuum of real versus fake or kind of a blend between the two? Or should we dive into it and just let it be the emerging native language of the internet?’”

In another similar hoax “project” from decades ago, one can’t forget the infamous story of the pop group Milli Vanilli and it’s producer Frank Farian, who may have pulled the biggest hoax in popular music history: selling over 7 million albums and 30 million singles, and winning a Grammy for “Best New Artist” by deceiving the public with a pair of lip-synching performance artists who did not sing one note on their records.

Even with the regret and humiliation that Milli Vanilli producer Frank Farian went through, at least their end product was “real music” that used professional musicians and was produced in a recording studio. That takes real talent.

In a notable moment for the music industry, an A.I.-assisted Beatles song, “Now and Then,” won the Grammy for Best Rock Performance in 2025. It was the first time an AI-assisted song received one.

You can credit director Peter Jackson and his production team who worked on the 2021 “The Beatles – Get Back” documentary. They developed an A.I. tool (MAL) for the film and discovered that they could use it to extract John Lennon’s voice from a demo cassette tape recorded in 1974 that originally had Lennon’s piano and vocal on it. They were able to isolate the tracks mixed into a 2 track master and later combined the original 1995 guitar tracks that George Harrison recorded from their “Now and Then” recording session along with McCartney and Starr, who decided to re-record their tracks in 2023 for a true authentic Beatles recording.

Currently, unless you have access to Peter Jacksons MAL A.I. tool, it appears the only way to tell if the music is A.I. generated is if you have software such as Apple’s Logic Pro track splitter and finding “artifacts” from the inputted music files, as music producer Rick Beato calls it.

Also, the music streaming app Deezer, also uses its own tool to identify AI-generated content and declared that 100% of The Velvet Sundown’s tracks were created using A.I. Deezer labels that content on its site, ensuring that AI-generated music does not appear on its recommended playlists and that royalties are maximized for human artists.

Unlike generative A.I., there is nothing fake with the Fab Four latest song, “Now and Then”… it’s just real music with real musicians with a little help from A.I. and their friends; producers Peter Jackson, Giles Martin and George Martin with all of the original Beatles back together again.

“Imagine” that.

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CURATING A REPERTORY FOR MOVIE THEATER SURVIVAL IN THE AGE OF STREAMING

50 Movies You May Have Not Seen That You Should! screening with Derek Zemrak. Photo by Marcus Siu

Article and photos by Marcus Siu

On June 22nd, Variety Magazine published an article reporting that over 50% of exhibition executives surveyed believe the “traditional cinema experience” has less than 20 years remaining as a viable business model and that curated and repertory programming will play a significant role in the survival of movie theaters. Big blockbuster movies will not exist in mainstream theatre but only on IMAX or large format screens.

That certainly is troubling news to theater owners, such as Derek Zemrak who co-owns the Orinda Theater in the Bay Area. However, he has been adapting with the times within his community and continues to curate programming such as his latest “50 Films series”, “Cult Movie Night”,”Matías Bombal’s Hollywood” and even “Free Movie Night”.

“Theaters can’t exist unless you have alternative programming and you are curating your own stuff …that’s what saves us.”, Zemrak explained. “Omar will have 80 people on a Cult Movie on a Saturday night, Matías will have close to 100 on a Tuesday at 1:00 pm. There’s no theater anymore at 1:00 that has 100 people in the theater.”

All of these repertory programs create a unique experience in comparison to home streaming. It’s unique because you can’t readily see them anywhere and it also builds community together along with nostalgia and discovery among its audience.

“There is nothing like sitting in the back and sitting in the front there and listening to people laugh when they should have laughed”, Zemrak explains at the opening of his new “50 Films” series featuring Rob Reiner’s “Flipped”.

“I saw some tears in people’s eyes but you’re not gonna get that sitting at home with whoever it is. It’s just that emotion that rolls through to people and that’s really what it’s all about… I mean it’s moving pictures…and that’s you’re getting moved one way or another…obviously depends on the movie but I hope we’ve curated nice program that everyone will enjoy.”

50 MOVIES YOU MAY NOT HAVE SEEN, THAT YOU SHOULD!

Movie patrons at the Orinda theater often ask Zemrak, who has also been a film critic for over 25 years, for his favorite movie titles and he would always provide an answer.

“That’s a difficult question – here’s a few movies that I think you may enjoy that you may not have seen. Because movies are just like wine”, as Zemrak explains, “I mean, it’s hard to suggest to somebody because you don’t really know what their palette is…but we’ll take a shot.”

“So during the pandemic I wrote this book, then got it published…and here we are today.”

That book is called “Fifty Movies You May Not Have Seen That You Should!” It was written during the 2020 pandemic and published the very next year. The films are mostly after 1991, when Zemrak really started getting into films right after his college days leading up to him becoming a film critic, as well as the founder of the California Independent Film Festival in 1997. He is also a film producer (PGA) and theater owner. To say he has seen lots of movies is a bit of an understatement.

Before compiling his first draft of fifty films for his book, I suggested other noteworthy films for his consideration that might have been under his radar. One of those films was the 2007 film, “Death at a Funeral”, directed by Frank Oz, which should no means should be confused with the forgettable Chris Rock American remake in 2010. I was very lucky to see it at an industry screening with the director in attendance and was lucky to sit right next to Pixar’s director, Pete Doctor, who absolutely loved the film, as well. Needless to say, it made the cut as one of the fifty movies in the book.

The talented but unknown British ensemble cast (at least to an American audience), alongside Peter Dinklange, is insanely brilliant in this little known gem of a movie that did not get much of an audience in its original release. However, it was given a second chance and played last March at the “Free Movie Night” at the Orinda Theater hosted by Tommy O’Dowd. The audience was very grateful for the introduction of the movie and generated renewed interest in the “50 Movies” book, which sold out that same night.

After that gratifying evening, it didn’t take long for Zemrak to realize he should create and curate the film series “Fifty Movies” for the theatre, which actually started in early July with Rob Reiner’s 2010 box-office flop “Flipped”. Zemrak recalls seeing the film at the now defunct Landmark Embarcadero in San Francisco at a press screening and was so impressed with the “coming of age” film that he booked it at the Rheem Theater in Moraga when at the time he owned two theaters.

While it only made $1.7 million at the box office and lost millions of dollars for the studio, it played six weeks straight and became one of the highest grossing theaters in the country for the Rheem Theatre in Moraga, California.

“The Spitfire Grill”, “Mary and Max”, “Finding Your Feet”, “You Can Count on Me”, and “Lovely, Still” round off the movies for the remainder of the year for the series.

Perhaps, it is the movie “Lovely, Still”, a film about lost love and Alzheimer’s that will always have a indelible impression not just with Zemrak, but also with the two Oscar winning actors who starred in the film, Martin Landau and Ellen Burstyn. Ironically, the film never found a distributor.

Zemrak who knew Landau well, gave the script to him while he was still the head of the Actor’s Studio in Los Angeles. He called Ellen Burstyn and said, “you have to read this script…this kid is amazing.” Burstyn read it and she agreed to do it. “Martin always said that this was his best work that he had ever done on the screen and I do agree with that,” Zemrak concluded.

“We played it at the California Independent Film Festival and when I saw the film it was just unbelievable” Zemrak explained “then we found out when the director (Nik Fackler) shows up – he was 18 years old when he wrote the script and 19 years old when he directed Martin Landau and Ellen Burstyn.”

It’s certainly challenging times for independent theaters around the country, but the ones who have the most creativity and diversity of curating repertory programs whether it’s for movies, music, comedy, plays or special events, like the Orinda, will bring and attract more patrons within their community like never before. If that’s not diversity in programming, I don’t know what is!

It was also announced that this year the Orinda Theatre will replace the Castro Theatre to host the San Francisco Silent Film Festival in November.

That’s definitely worth shouting about.

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CAN JOURNALISM SURVIVE THE VULTURE CAPITALISTS TO SAVE OUR DEMOCRACY?

The story of one secretive hedge fund that is plundering America’s newspapers and the journalists who are fighting back.(Courtesy Rick Goldsmith/Stripped for Parts: American Journalism on the Brink)  

Article by Marcus Siu

Who will control the future of America’s news ecosystem: Wall Street billionaires concerned only with profit, or those who see journalism as an essential public service, the lifeblood of our democracy?

When award winning investigative reporter, Julie Reynolds, a journalist for the Monterey County Herald (as well as co-founder of the nonprofit news organization Voices of Monterey Bay and associate editor of the independent news outlet, The Imprint) received a call from Bay Area documentary filmmaker Rick Goldsmith who wanted to interview her regarding her investigative findings of Alden Global Capital, she was quite skeptical of the filmmaker whose name she was not familiar with.

“Until I looked him up…there were a few other people talking about making documentaries about Alden and I’m like, yeah yeah. Whatever.”, Reynolds recalled.

As a freelance journalist, she has also reported for the Center for Investigative Reporting, The Nation, NPR, PBS, The NewsGuild and other outlets.

“I sort of didn’t believe it but then I googled him and saw what his work had been. I was like… Oh my God, this is serious.”, Reynolds said. “He’s a serious journalist making documentaries, so I was just honored to be a part of it. I had no idea it was going to take the next four years, but you know so many things changed and had to keep telling the story as the story kept changing.”

A very serious journalist indeed, Goldsmith has two Oscar nominated films to his credit; 1996’s “Tell the Truth and Run: George Seldes and the American Press” and 2009’s “The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers”. He also has many other awards and accolades to his credit, including the prestigious Peabody Award.

Trailer for Stripped for Parts – American Journalism on the Brink

His latest film, “Stripped for Parts – American Journalism on the Brink” is the third of a trilogy about journalism. It’s a story of a secretive hedge fund that is plundering what is left of America’s newspapers, and the journalists who are fighting back, including Reynolds who was on the front line.

Reynolds discovered Alden Global Capital, the parent company of the company she is employed with was accused of acquiring hundreds of newspaper companies across the nation and dismantling them for profit. Her findings would eventually trigger rebellions across the country by journalists working at Alden-owned newspapers. The journalists were also backed by the NewsGuild union, the newsmen and women who would dare to go toe-to-toe with their “vulture capitalist” owners in a battle to save and rebuild local journalism in America.

“What was always interesting about Alden is they never cared what was said until we wrote about them, but ultimately only cared about the bottom line and that is still true today.”, Reynolds said.

After Alden Global Capital became a big investor in Sinclair Broadcasting, they became well aware of the media landscape around them and what roles they could change both socially and politically.

“They actually ordered all of their newspapers to stop endorsing any political candidates long before Bezos interfered with the Washington Post…so they’ve always been kind of standoffish only because they are really only were looking at spreadsheets on the East Coast and their offices”, Reynolds explained. “”It was just another one of their businesses…it could have been a shoe store chain it could have been anything like that. They really don’t care.”

Reynolds, along with Goldsmith were present at the Orinda Theater for a recent screening and Q&A and Goldsmith told the audience that there were three major questions that he wanted to address in his film.

Why would somebody or some outfit try to make money by wrecking journalism rather than practicing it? Since journalism and newspapers are kind of on the ropes of a dying industry… How do you make money at doing that in just a few months later?

However, it was the third question that got Goldsmith hooked soon after he started shooting.

“Here were the journalists who were fighting back. They were putting their jobs on the line. This had happened just after I got into the film, just after that first kind of scene in the film with what’s now called the debt for rebellion; the editorial (in the Denver Post) that blasted the hedge fund owner (vulture capitalist – Randall Smith). These people and not just one but a whole crowd of them were putting their livelihoods on the line and for what? They don’t usually do that as is pointed out in the film.”

“Journalists are covering other people’s stories in the world around them. George Seldes is famous about saying “the most sacred cow of the press is the press itself“. They don’t write about themselves and here they were writing about themselves, and they were standing up…and they were standing up not only for themselves, but really for the rest of us…and for democracy…and that to me was a great story!”.

THE ENEMY OF THE PEOPLE

Goldsmith continued, “Before the last financial crisis and the first decade of this century we started seeing a decline in the number of journalists. I think that led to a less informed public to and then with the rise of social media to not only a misinformed public but a disinformed public. I think that led to the kind of politics and elections that we have seen in the last twelve years now…so one thing did lead to another and now with journalists being called “the enemy of the people” it’s even more dangerous for them.”

“People like Patrick Soon-Shiong (Los Angeles Times) and Jeff Bezos (Washington Post) who own newspapers and are obviously catering to the powers that be right now.”

Goldsmith paused and pulled out an article from the Barre Montpelier Times Argus, (a very small newspaper in Vermont) titled “Yes, We are the Enemy”, which was originally published during the first Trump Administration and was just re-published again last February just when the second Trump Administration just was getting started in February and just months prior, when major newspapers decide not endorse their choices for President.

Director Rick Goldsmith at the Orinda Theater. Photo by Marcus Siu

“With Bezos and people like Patrick Soon-Shiong and ABC News kind of caving in to the new (Trump) Administration, this is the kind of journalism that I think we need”, Goldsmith remarked; “this editorial response to the accusation that the newspapers and journalists are “the enemy of the people”.”

“We are the enemy. It’s true. We say that with no hesitation. If you abuse power, we are the enemy. When you use propaganda to mislead the people, you are the enemy. If a public official deliberately hides documents or closes meetings, we are the enemy. We will come after you if you are an oppressor of the underprivileged. We will never allow anyone to silence the voices and opinions of others. If you ignore laws and human rights, you are the enemy. We will call out discrimination, any willingness or eagerness to hate, narrow-mindedness.”…and it goes on, Goldsmith says.

“That to me is the kind of spirit and the kind of attitude that we need desperately more now than ever from the Fourth Estate”, Goldsmith continued. “There are people practicing that and there are a lot of people who partner for the state. We’re not practicing. We’re sitting back and not going after abuse of power.”

“Julie could speak to this. She’s made a career out of it, you go after abuse of power and you know you’re on the right track!”

Julie Reynolds (Courtesy Rick Goldsmith/Stripped for Parts: American Journalism on the Brink)  

Here is the link to the “We are the enemy” article from the Barre Montpelier Times Argus:

https://www.timesargus.com/opinion/editorials/yes-we-are-the-enemy/article_9bbe3a93-2cb3-54d5-a3ab-2fc5add152ed.html

Stripped for Parts – American Journalism on the Brink” is now streaming free on Kanopy.

Also just updated: Stripped for Parts is currently available on PBS for streaming and broadcasts:

  • Streaming – From October 1st to December 31st, the film is available for free at PBS.org or the PBS app (sometimes called “PBS video”) through Roku, Apple TV, Google Play or most smart TVs
  • Broadcast – check here for dates and times, which will be updated periodically. You can also check your local listings.    
  • October 20th at 5pm PT/8pm ET, (and then 3 repeat airings that week) on the PBS World Channel broadcast everywhere, check your local listings to see if your local station carries the World Channel or check the schedule on our website

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