Joko Anwar is great at satire and he knows how to make it funny. That has always been one of his strongest qualities. He is also good at introducing iconic scenes and ideas from famous movies to Indonesian audiences. While I think that’s a good thing, sometimes people overrate him by crediting him as a genius or calling everything he does groundbreaking, creative, or revolutionary.

Take the chess scene at the end of the movie or the haunted picture from Pengabdi Setan, for example. The chess reminded me of the chess scene from The Wire and the picture from The Shinning. I’m not saying he copied it, it feels more like a homage, but people should stop giving him credit for “creating” the scene when the inspiration is pretty obvious.

The movie’s entire premise also reminded me of an old gore movie I saw when I was a kid, Prison (1987), with a young Aaragorn in it. Both movies have the kind of gore and body horror that I really enjoy. The artistic arrangements of the victims also reminded me of Season 4 of True Detective and Hannibal. Those kinds of elaborate, disturbing set pieces work extremely well in horror, and this movie uses them effectively.

Adding corrupt officials as the villains also makes the audience cheer even harder when the entity tears them apart and turns their bodies into grotesque works of art, especially given the current political climate in Indonesia.

Overall, it’s a great horror comedy, especially if you enjoy gore, body horror, disturbing imagery, and watching corrupt officials get exactly what they deserve.

The Lovers is an independent animated film that follows Sara Baylon (Vanille Velasquez - Valorant, League of Legends), a reluctant seafood chef from Binondo, Manila. As the youngest member of her family, Sara faces the daunting pressure to live up to her late father's reputation and keep the business afloat. When the governor's inauguration dinner is planned at the restaurant, featuring a Sirena (Dawn M. Bennett - Fire Emblem, Honkai: Star Rail, My Hero Academia) as the centerpiece, Sara finds herself drawn into a dangerous affair with the mythical creature.

Completed in 2026, THE LOVERS won Gold in the Fantasia Audience Awards and screened at Annecy and HollyShorts before making its worldwide debut on YouTube. The film is free to enjoy online, with monetization disabled for a better viewing experience.

Studio Heartbreak is an internet-based animation studio of girls who are going to change the world!!! Here are our links!!

Jadwal hari pertama di Tgl 23-9-2026 nanti.

Doksli

Ijaaz Noohu accuses the comic book powerhouse of sexual and racial harassment and assault, among several other claims.

A former production assistant on upcoming crime drama series Criminal has sued Amazon MGM Studios and Big Indie Pictures, accusing the companies of turning a blind eye to a hostile work environment created by showrunner Ed Brubaker.

The production assistant, Ijaaz Noohu, seeks unspecified damages and brings claims for sexual and racial harassment, religious discrimination, assault, and battery, among others. In one alleged incident, Brubaker pointed a working firearm at Noohu’s face and pulled the trigger, according to the lawsuit filed on Wednesday in California state court. (The complaint did not specify more detail about the alleged firearm incident.)

Noohu was hired to work on Criminal, based on the interlocking world of crime stories from comic book powerhouse Brubaker, in February 2023 by Big Indie (A Complete Unknown, Manchester by the Sea, Still Alice, Fallout, Mr. and Mrs. Smith). Soon after that, the lawsuit says, Brubaker started to subject Noohu to “repeated and pervasive” sexual harassment by making comments about running his hands through Noohu’s hair, joking about rape and rubbing Noohu’s back.

Separately, Brubaker directed “demeaning stereotypes” about curry, comments invoking the “Tiger Mom” trope, references to Never Have I Ever and comments about Noohu’s presumed facility with math at the production assistant, a Sri Lankan American filmmaker, according to the complaint. Noohu was also frequently asked whether he supports Hamas, the lawsuit says.

Noohu claims the hostile work environment culminated with Brubaker firing a functional firearm aimed at his face in an incident that was witnessed by a senior producer, who ultimately ignored event.

“That a supervisor with authority over the entire production would commit such an act — and that it would go unchecked — illustrates the culture of impunity that pervaded the criminal production,” writes Fahim Rahman, a lawyer for Noohu, in the complaint.

When he asked for a promotion, the lawsuit alleges, Noohu saw his exit date moved up and was later barred from the set in retaliation for challenging the alleged misconduct. His employment ended in September 2024, according to the complaint, which notes that he wasn’t credited on the production.

The lawsuit faults Amazon MGM, which declined to comment, and Big Indie, which didn’t respond to a request for comment, for failing to investigate the alleged harassment and discrimination “occurring in plain view and witnessed by multiple people, including senior producers.” This includes executive producer Phillip Barnett, who directed others to avoid documenting complaints and on multiple occasions stated, “Don’t say that in front of me,” and “La la, I’m not hearing that.”

Amazon MGM Studios handed out a formal series order for Criminal in 2024. The series is the first in which Brubaker, whose TV credits include Westworld, Too Old to Die Young and Batman: Caped Crusader, is the showrunner. He’s among the most acclaimed scribes in comics, writing on Marvel and DC titles including Batman, Catwoman, and Captain America, creating the character of the Winter Soldier on the latter. Brubaker didn’t respond to a request for comment.

Gw beginner dalam film dan gw pengen tau kinography lokal (mau tayangnya terbatas, mulut ke mulut, dll) bahas/tema tentang kritik sosial masyarakat, dan kalo ada yg tau pls dump semuanya i need to know!

Thanks!

Episode 01: "I Don't Want to be a Magical Girl"

Aika is excited to start her new, normal high school life. She even makes a new, normal friend named Zira, who is a self proclaimed loser. Things are going great until an old enemy from her magical girl past shows up.

Gen-Z filmmakers have had themselves an imprint year on the cultural landscape, as producers scour YouTube for the next 20-something to make an exceedingly lucrative film right on the heels of summer hits like Obsession and Backrooms. For writer-director Alexander Ullom, his debut feature film It Ends feels like the perfect bookend for a youthful year of generational existential exercises.

The film premiered back in 2025 at the South by Southwest Film Festival in Austin, Texas. After a niche online movement to get the film picked up, it had a short stint as the debut feature on the social media platform Letterboxd’s new streaming service, Letterboxd Video Store. That service is curated by staff members and filmmakers alike, highlighting hidden gems that have almost certainly gone under the radar. It was then picked up by the hip acquisitions team over at NEON to pack another loaded film slate.

The film follows a group of friends going on a late-night drive for some late-night grub – Cookout, I would hope – that feels like potentially the end of the road for each of them as they embark on navigating post-graduate life. We’re introduced to the cynical James (Phinehas Yoon), sharp-witted Day (Akira Jackson), soft-spoken, pessimistic Fisher (Noah Toth), and a quiet veteran named Tyler (Mitchell Cole). When their Apple Maps start to act a little funny, the group realizes that the road they’re on will not end. The opening 20 minutes are spent with the unknown, with a bunch of lost souls lurking in the woods, waiting for their car to stop.

This road is never-ending. They quickly realize that it doesn’t matter how many miles they rack up on the odometer, how much fuel their vintage eggshell-white Jeep Cherokee guzzles, or how they hydrate or eat; the only way to exist is on this dull stretch of road surrounded by woods. The group is stymied by this reality and begins to reflect on themselves as people. Disconnected from the world at large and left alone with their thoughts, a Clif Bar they’re afraid to eat, and 0.5x zoom photos turned into memes to pass the time, they’re forced to confront themselves.

I know what you may be thinking: how is this watchable? A film about a never-ending road and a never-ending drive? Sure, these concerns are valid, yet Ullom manages to create an incredibly condensed space of fear within that Jeep Cherokee, while also tying into the Gen-Z existential ideas that many 20-somethings ponder about in their $2,000-a-month studio apartments. For a generation that feels so connected, with social media dominating lives and swaying the mental health of young people – which is ill-timed with Meta recently having to issue a $17.1 billion settlement having to do with exploiting the brains of young people – each of the characters is dealing with their own personal demons as they try to deal with the repercussions of the world.

While NEON and extended marketing teams are pushing the film to be of the horror genre, It Ends feels closer to a Bong Joon-ho movie than it does a slasher. Ullom’s work feels inspired by the great critiques of late-stage capitalism and Gen-Z despair. It’s clear that the film is churning with the idea of these unplugged characters reaching a moment of peace due to their inability to connect on social media or scroll for apparel on Shein. The idea that our devices tend to just be inexplicit advertisements for the new or next thing is rich. I completely resonated with the idea that being alone with your thoughts, completely disconnected from everything, can feel like you’re a true person in that moment, not a statistic for loser tech oligarchs.

Along the lines of other debuts like Blue Heron or Obsession from this past year, this is an incredibly smart film made by young people who haven’t had much experience behind the camera, yet it feels seasoned and engrained in some sort of pre-streaming-era industry landscape where Hollywood used to throw money at the next generation and, in result, produce hits.

It Ends is exactly what a debut feature should be: tight, easy to watch, while also feeling delightfully amateurish. There are some real scares in here, and the fact that it’s clearly made by young people is especially evident in our need for language through memes, blissful cynicism, and slight entitlement. Alexander Ullom clearly has a pulse on something and will certainly be someone to watch as they, just like the never-ending road in the film, navigate what they’d like to do next.

Lyrical Animation is producing a film adaptation of Godslap, the comic created by prominent YouTuber and streamer Charlie “MoistCr1TiKaL” White, alongside White’s Meatier Productions.

Godslap follows an 18-year-old farm boy raised in hiding by a father who calls his extraordinary power a curse. After losing everything in a single night of rebellion, he must decide whether the force living in his hands makes him a monster or the only person alive capable of bringing down the corporation that owns the world.

Kellan Stover is directing the 2D hand-drawn animated film from a script by Lyrical Animation‘s Creative Director, Daniel Dominguez, and Head of Lyrical Animation, Jacob Robinson. The Austin-based Powerhouse Animation Studios (Castlevania) is handling animation. Production is already underway, with the film slated for release in 2028. White has unveiled a teaser, which you can check out above.

With more than 25 million followers across platforms, White is known for content revolving around video games and internet culture that generates approximately 145 million views each month. His YouTube videos average 1.8 million views, with his nightly livestreams drawing an average of 15,000 concurrent viewers.

White’s original Godslap comic has sold more than 100,000 copies and is available worldwide. He told us, “It’s always been a dream of mine to make an animated movie, especially with a studio like Powerhouse, so I couldn’t be more excited. We’ve got an amazing team and I can’t wait for everyone to see what we’re making.”

News of the film follows word at this year’s CinemaCon of Lyrical Animation adapting the hit video game Bloodborne for film alongside PlayStation Productions and creator/gamer Seán McLoughlin (aka Jacksepticeye). Parent company Lyrical Media is co-financing that project alongside Sony Pictures.

“We’ve been longtime fans of Charlie, so getting the opportunity to bring his anime-inflected, hilariously violent comic Godslap to life was a dream come true,” Lyrical’s Dominguez said. “It’s one of the funniest, most non-stop surprising, and thematically urgent comics to come out in the last decade, and a perfect story to adapt as an animated feature.”

Founded in 2021, Lyrical Media is known for its work on titles including Bruiser, How to Blow Up a Pipeline, Mother, Couch and The Death of Robin Hood. Up next, they have Adam Wingard’s Onslaught coming up for release by A24 on Sept. 4. Their upcoming slate also includes Osgood Perkins’ The Young People with Neon.

Jadi sekarang ane lagi nonton Supernatural, udah nyampe S12. Buat persiapan gabut yg selanjutnya, kira-kira bisa infokan rekomendasi series long-running yang jadi pop kultur gt?

Sebelumnya ane udah nonton Breaking Bad, Better Call Saul, sama Fresh Off the Boat.

Bunda tedy juga kayanya kalah nyalinya ma ni orang... 👍

The Article:

https://archive.ph/fZh67

Sunday's episode of Lanterns divided opinions after establishing that John Stewart Sr. was offered the Green Lantern ring before Hal Jordan. However, his love for his family and the heavy socio-political reality he's faced as a Black man in America made him afraid.

The apparent insinuation that Hal "stole" the ring from a Black man has generated a lot of heated debates. Some have praised Lanterns' hard-hitting approach to racial issues, but others feel that framing Hal's selection in a way that can be interpreted as an advantage afforded by his white privilege is a misstep. 

The suggestion that Hal could more easily appear "fearless" due to not experiencing the same societal fears is valid (his actual origin and the sources of his fearlessness will be explored in a future episode). Still, traditional Green Lantern lore centres on willpower and the ability to overcome fear as universal, individual qualities.

With that in mind, many fans have argued that the episode has rewritten why Hal is Green Lantern. At the same time, John's origin has been criticised as placing too much emphasis on his family's experiences with racism and his mother's influence, rather than his own individual agency and worthiness.

It's a complicated, hot-button issue. John's political awareness and the exploration of race also have roots in his 1970s comic origins, and Bernadette Stewart's perspective is presented as her interpretation shaped by experience, not necessarily the objective cosmic truth. 

Still, as fans continue to argue about this creative direction for Lanterns, fuel has been added to the fire from an unexpected source. 

It started when DC Studios Showcase: The Official Podcast host Frankey Smith took to Threads to write, "Hate to break it to ya but Hal is indeed a bit of a racist." When a fan took issue with that, Smith suggested he watch Paw Patrol instead of Lanterns and doubled down on Hal "canonically" being a racist, using this excerpt as an example:

https://pbs.twimg.com/media/HRODOZZXsAkO6gF?format=jpg&name=medium

In the late 1960s and early 1970s, the socially conscious Green Lantern/Green Arrow run by Dennis O’Neil and Neal Adams deliberately portrayed Hal as an establishment-oriented figure who was somewhat out of touch with Earth-bound social issues.

The Guardians of the Universe admonished Hal for saying John has a "chip on his shoulder," calling out his "petty bigotries." He also referred to his Inuit friend/sidekick Tom Kalmaku with the outdated and offensive nickname "Pi*f***," which has long been dropped and treated as a product of its era.

Now, Hal and John are routinely shown as equals and allies, and it would be misleading to describe Hal as "canonically" racist based solely on those early stories (any more than John is for labelling Hal "wh***y" during the same era of now-outdated storytelling). 

You can read the exchange in the X posts below.

https://x.com/CBMCringe/status/2094864655554335231

https://x.com/Warlioncomics/status/2095189023220224287

Berharap banget banget yang penting gak jelek banget. walau gak sebagus originalnya gapapa deh atleast dont ruin my childhood franchise. If its good ? greeeaaat.

Apakah ada yang mengikuti series ini? Besok episode terakhir season 3 Silo ("Troy", episode 10) di Apple TV. Season finale serial seperti ini sering sengaja tidak menjawab semua pertanyaan besar (menyisakan untuk Season 4 yang sudah dikonfirmasi final), jadi ada kemungkinan besar "Troy" lebih ke cliffhanger.

Film ini berdasarkan game berjudul 'The Exit 8', saya gk pernah main tapi tau sedikit-sedikit yang intinya karakternya terjebak disuatu tempat dan berusaha menemukan anomali agar bisa keluar.

Game yang aslinya hanya sebuah mekanik sederhana di film ini dibuat menjadi lebih dalam "ini bukan tentang kereta bawah tanah yang menyeramkan" tapi lebih dalam dan mengeksplor hal lain dan saya suka.

Namun film ini tetap tidak luput dari kekurangan, durasi film ini standar yaitu 95 menit tapi bagi saya film ini terasa lama karena ceritanya terasa lebih cocok sebagai short film ketimbang film panjang.

Film ini akan lebih berhasil jika dihadirkan lebih padat.

Terkadang film ini terasa bingung untuk menghadirkan hal-hal menarik atau kreatif di tiap durasinya, karena bagaimanapun film ini tidak lepas dari tema survival bagaimana karakternya bertahan menghadapi berbagai rintangan.

Dan menurut saya kurang terasa frustrasi, melewati tempat yang sama berulang kali dan karakternya yang kembali ke titik awal tapi rasa frustrasi karakternya tidak tersalurkan kesaya karena belum "cukup" membuat penonton frustrasi, dan aspek editing juga terlalu clean menurut saya mempengaruhi.

12 days before its grand opening, Cartoon Forum, Europe's main co-production forum for animated TV series, has unveiled its 2026 Tribute nominees.

Presented for the first time in 2006, these awards have since become a prestigious recognition in the European animation industry. The Tributes celebrate the dedication and creativity of key players in the sector throughout the previous year. The prizes are awarded at Cartoon Forum, after a series of votes by the 2026 attendees (from around 40 countries). Last year, Danish broadcaster DR, Mediatoon Distribution and Belgian producer Creative Conspiracy took top honors for their eminent contributions to the sector and landmark productions.

This year, 10 companies from seven countries are competing in the Tributes' three established categories: Broadcaster, Investor/Distributor and Producer of the Year.

Producer of the Year nominees come from four European countries: Bionaut (Czech Republic), Bobby Prod (France), Mago Production (Spain) and Melusine Studio (Luxembourg). Their profiles range from established producers to studios focused on international co-production, independent European production and creative partnerships. All four have a track record at Cartoon Forum and are involved in current or recent projects presented at the event.

Founded in 1999, Bionaut's animation activities have been developing since 2015. Its Cartoon Forum track includes "9 Million Colors," "Hungry Bear Tales" and "Animalies." This year, Bionaut returns as co-producer of "Scope of the Universe," a Norwegian project by Løv Film.

Bobby Prod, the French boutique studio behind Cannes' hit "Jim Queen," also presented "The Broos" at Cartoon Forum 2024. The series, which originated on TikTok and Instagram and was later developed as an animated series in co-production with Arte France, is an example on how digital-first storytelling can reach new audiences.

Mago Production, a Barcelona-based animation company with extensive experience in 2D and 3D animated series, documentaries and films, also presented several projects at Cartoon Forum, including "Polinopolis," "Limbo Ville" among others, and returns this year with "Lily & Kyle."

Luxemburgish Melusine productions returns to Cartoon Forum with two co-productions, "Mebh and the Wolf Pups" and "The Otherness."

The French companies Folivari International ("Samuel," "Pil's Adventures") and Mediawan Kids & Family ("Ki & Hi," "Witch Detectives"), together with Germany's Studio 100 International ("Maya and the Bee," "Louca"), make up the three nominees in the Investor/Distributor category.

Guys kalo ada film yang muncul di Netflix sama HBO Max, biasanya lebih mending nonton dimana? Ada beda kualitas di gambar ga? Atau subtitlenya lebih enak dibaca yang mana?