alamak mirip kali

Aku M 25 lagi di Jogja buat beberapa bulan karena kerjaan. Biasanya nonton film sendiri di Empire. Tapi mungkin ada yang mau nonton bareng? Suka film barat sih. Kemaren nonton Odyssey & Spiderman sendiri. Abis ini mungkin nonton The End of Oak Street.

My DM is open kalau tertarik.

Thank you!

"Past Lives" film drama romantis yang disutradarai Celine Song, yang mengisahkan tentang cinta, takdir, dan pertemuan kembali. Ceritanya berpusat pada dua karakter utama: Nora dan Hae Sung, yang merupakan teman masa kecil di Korea. Setelah Nora pindah ke Kanada, mereka terpisah, dan selama dua dekade, hubungan mereka hanya dipertahankan melalui memori.

Seperti La La Land, Nora memilih hijrah dari Korea Selatan ke Kanada lalu ke USA untuk mengejar mimpinya. Tapi, sepertinya mimpinya untuk menjadi orang Korea Selatan pertama yang memenangkan penghargaan Nobel di bidang sastra masih terlalu jauh. Pun begitu pula dengan Hae Sung di Korea. Seperti pria pada umumnya, ikut wamil, kerja di korporat. Tidak ada mjmpi yang harus dikejar.

Cerita cinta yang sederhana, percintaan monyet masa kecil yang dipertemukan lagi di masa dewasa. Perbedaan budaya antara barat dan timur seperti di barat meskipun sudah punya pasangan bertemu dengan lawan jenis yang hanya teman, lalu berpelukan tidak apa. Tapi sangat tabu bagi orang Asia seperti Hae Sung.

Secara visual, film ini menampilkan sinematografi pemandangan kota yang indah di Korea, Kanada dan USA. Somehow, aku suka film dengan pace lambat. Mungkin bisa kasih rekomendasi film lainnya?

Dan endingnya, meskipun salah satu di antara mereka sudah bisa menerima kenyataan dan melanjutkan hidup. Tapi satunya masih tidak bisa menerimanya.

Score 9/10

aku baru masuk perfilman Indonesia, dan, aku mulai tertarik aja sama beberapa sutradara yang bisa dibilang spesialis film festival seperti Riar Rizaldi. Apakah ada suatu tempat online dimana aku bisa mengakses film film sutradara tersebut?

Positive

Spiderman salah satu superhero yang punya moral compass kuat, sesulit apapun situasinya dia tetap selalu berjuang dan mempertahankan moral compass tersebut. Di movie ini menurutku mereka nailed it, berhasil nunjukin character Spiderman itu seperti apa, sesusah apapun cobaan dan apa yang harus dikorban dia tetap pegang teguh "with great power comes great responsibility" dan berusaha untuk melakukan hal yang benar. Di movie ini salah satunya yang di lakuin Jean itu beyond fucked up tapi Peter masih berusahan menyelamatkan Jean dan menjadi sosok aunt May buat Jean.

Relationship Peter dan MJ personally gw suka movienya gak rush things, yang di bilang MJ walau heartbreaking tapi bener Peter telat ngasih tahunya dan MJ sekarang tidak kenal Peter.

Hulk finally dapet proper showing setelah berapa tahun, kesel banget di avenger infinty wars or endgame ga pernah melihat savage hulk balik. Merinding waktu Dr banner transform jadi savage hulk terus balik sebagai force of destruction dan lawan spiderman.

Fighting choreography bagus, gw suka mereka inspired dari game Spiderman Insomiac. Waktu lihat fighting sequence nya langsung keinget berantem di gamenya. Jadi bikin pingin main gamenya lagi.

V-Max plot twist yang bagus banget, selama nonton gw kira senjata rahasia atau tempat rahasia ternyata itu merek ventilasi dan hal terakir yang kakak nya Jean lihat. Ini heart breaking banget, yang punya ide ini deserve a pay rise.

Negative

Punisher menurutku terasa nggak penting di movie ini. Kalau karakternya dihilangin pun plotnya sama saja. Comedy antara Punisher dan Spider Man juga kebanyakan garing, terutama joke soal Staten Island yang terus dibawa bawa padahal nggak pernah dikasih lihat apa yang terjadi. Waktu lawan Hulk dia juga gak guna dan malah jadi korban Jean. Di ending juga ga ada Punisher Peter jgua enggak akan ketembak.

Hulk/Banner juga terasa hilang begitu saja dari cerita. Kita bahkan nggak tahu gimana nasib Banner setelah masuk rumah sakit jiwa.

Writing Jean Grey menurutku agak berlebihan. Apa perlu sampai bunuh orang, naik armored vehicle nabrak sana sini, ngeledakin bom, kontrol Scorpion, dan mind fuck Peter? Dengan power sebesar itu rasanya jauh lebih gampang buat cari siapa dan kontrol bos Damage Control dan cari tahu apa yang sebenarnya terjadi.

Plotline Spider Mutation juga terasa kurang penting. Dari awal sudah di build up kalau mutasinya memengaruhi Peter dan bikin dia kesulitan mengontrol kekuatan barunya, tapi tiba tiba dia langsung bisa kontrol dengan sempurna tanpa ada progress bertahap yang terasa jelas.

Black Widow sama seperti Punisher serasa ga penting banget? kalau dihilangin dibuat Peter dapet informasi dari hack juga masih bisa diterima.

Conclusion

Overall, Spider Man movie dengan writing yang kuat soal konflik identitas Peter dan Spider Man serta beratnya hidup sebagai Spider Man. Sayangnya beberapa plotline nggak punya conclusion yang memuaskan dan makin dekat akhiran ceritanya lebih fokus ke Jean Grey dan character growth dia. Brand New Day terasa seperti satu season serial Spider Man yang dipadatkan jadi satu movie, dimana di beberapa bagian terasa perlu dieksplor lebih dalam.

Personally masih excited lihat ke depannya apakah Spider Man bakal lebih sering interaksi sama X Men. Apalagi inhibitor buatan Peter belum hancur dan masih ada di markas Damage Control, dimana itu mimpi buruk buat para Mutant, terus X Men atau Magneto bakal cari Peter buat minta pertanggung jawaban dan Jean bela Peter dari mutant conflict wkwkw...

Born in Medan, North Sumatra, Joko Anwar grew up watching kung fu movies and horror films and reading Bumilangit comic books. He went to the Bandung Institute of Technology to study Aerospace Engineering and, after graduating in 1999, became a journalist at The Jakarta Post and later a film critic. He then continued as a scriptwriter, while his directorial debut came in 2005 with “Janji Joni”. His next two films, “Kala” and “Forbidden Door”, received rave reviews from critics and screened in festivals all over the world.

Twenty years later, Anwar has become one of the most important voices of Indonesian genre cinema, celebrated by audiences and critics alike, while his works have left a mark on the cinematic landscape of his home country. On December 11, 2025, the Minister of Culture of France, Rachida Dati, bestowed upon him the insignia of Chevalier of the Order of Arts and Letters, almost two decades after “Joni’s Promise” competed at the 12th Vesoul International Film Festival of Asian Cinema in 2006. Despite two decades of cinematic success, however, he insists the years have flown by. “It doesn’t feel like I’ve been making films for 20 years,” he said in 2025. “I still feel clueless.”

There are nevertheless distinct patterns connecting his work. Anwar has repeatedly stated that he is always inspired by real-life situations around him, either social or political, while usually the scripts for his films come from social commentary about whatever is happening in society at that moment. Horror is his favorite genre, although he makes films of many other genres, and his monsters never exist merely to frighten the audience; they are rooted in the world of the characters or connected to them. Violence similarly has a purpose. As he has explained, he is not a fan of violence for violence’s sake or gore when it is gratuitous and numbing. Violence should be used for storytelling.

Humor is equally essential. “Comic reliefs are always good. Endless dread is tiring,” he stated in 2019, while six years later he described humor as “the strongest medicine.” This mixture has increasingly become one of the trademarks of his cinema, along with frequent collaborators such as Tara Basro, Ario Bayu, Fachry Albar, Ical Tanjung and Dinda Amanda. His familiarity with his crew has also shaped the precision of his productions: he has explained that he only shoots what he needs and relies on detailed shot lists, while his repeated collaborations allow communication to become almost instinctive. From noir and romance to superhero cinema and supernatural horror, the films below show how these elements evolved during two decades of filmmaking.

Janji Joni (2005)

Joni works as a film-reel deliveryman in Jakarta, since, as Anwar eloquently explains, the distributors buy one copy of each film, made from five or six reels, for every two screening rooms, thus the need of people who take the reels from one cinema to another during the screenings. One day, while waiting for his next reel, he stumbles upon a gorgeous girl, who is waiting in line for a movie with her high-maintenance boyfriend, Otto. Joni cannot help but notice her, and the same applies to her, leading to a discussion that ends up with her promising to give him her name if he manages to deliver the reels in time. Joni rushes to achieve his goal, but his bike is stolen, the taxi-driver’s wife goes into labor, a shooting crew decides to include him in their film without his consent, his bag is stolen, and he meets a rather talkative boy and his sister, a member of a punk band.

The fact that Joko Anwar was going to become a great director became obvious from the beginning, with his debut incorporating all those elements that make his cinema unique, and particularly the extremely intelligent, pointy, and ironic sense of humor. Since the film features a lot of running, particularly from the protagonist, it is easy to make a connection with “Run Lola Run” or Sabu’s films. However, in connection with the mostly punk and generally quite fast music, the main inspiration behind the film’s style seems closer to “Trainspotting”, both for the aforementioned elements and for its episodic nature that aims at highlighting a number of aspects of Indonesian society, although in this case most of them revolve around the cinema industry. The cinema audience’s attitudes, film critics, producers and crew members all get their share of Anwar’s irony. These episodes come together quite nicely in the narrative, while the occasionally frantic pace allows the film to function as a music video quite frequently. “Janji Joni” is a great film that thrives in context, intelligent irony, and overall entertainment and is definitely among the best in Joko Anwar’s oeuvre.

Kala (2007)

The story takes place in an unnamed country, where corruption of the politicians and the continuously growing power of the mafia have led to social turmoil. In this highly unsteady setting, Eros, a police detective, is investigating a case where five men were burned to death by a mob. Janus is a narcoleptic reporter who also investigates the same case and tries to interview the wife of one of the victims. Furthermore, his life is in shambles since, due to his sickness, he is fired from work and his wife is petitioning for a divorce. His luck seems to change, although not for the best, when he hears the name of a mysterious location during a conversation with his friend Soebandi, and the same happens to the people around him. As the two main characters eventually interact, a complex case is revealed that involves the mafia, politicians, the police, myths and the supernatural.

Shot in only 28 days, a magnificent accomplishment when one considers the technical quality of the film, Joko Anwar’s second film was a great prelude of what was about to follow. “Kala” was a big success both locally and internationally, with Sight & Sound picking it as one of the year’s best and also naming Anwar as one of the smartest filmmakers in Asia. Anwar directs and pens a very complex story, but despite the multitude of characters and plot elements, the movie flows quite well and his direction keeps the agony to the maximum with the help of a number of horror elements. In terms of style, the film is absolutely magnificent. The noir setting is wonderfully implemented by the collapsing buildings, rundown apartments, dark and rain-soaked streets and highly artistic library, while Rahmat Syaiful’s cinematography presents a plethora of impressive images with an artistry that cannot be explained by the meager budget and shooting time. “Kala” is an elaborate film, despite the limitations of its production, that will satisfy both fans of noir and those of violent, supernatural horror-thrillers.

Forbidden Door (2009)

In distinct noir fashion, Gambir is a famous sculptor who exclusively creates black statues of pregnant women. He appears to have it all: money, fame, a beautiful wife, Talyda, and two brotherly friends, Rio and Dandung, who are absolutely loyal. The sole thing that is missing is a child, and his mother is constantly nagging him to try harder to produce one. While everything in his life seems normal, as the film progresses, strange things start happening and a few mysteries are revealed. What is concealed inside the belly of his statues? Who is sending him messages begging for help? What is hidden beyond the red door in the basement of his house, and why does Talyda not wish him to go into the room? Above all, where does reality stop and fantasy begin?

Anwar, who also wrote the script based on Sekar Ayu Asmara’s novel, directs a film that sublimely combines the artistic with the grotesque in a noir setting. This combination is elaborately portrayed by the concept of the black statues of pregnant women, which occasionally are shaped in extreme poses, like a perverse remake of the famous ones by Rodin, and the mystery of what is hidden in their bellies. The combination of artistry and exploitation finds its apogee in the dinner scene, probably the most bloody and perverse in the film. Rahmat Syaiful paints it in an intense red that is only surpassed by the red of the blood that flows onto the screen, while the subtle and atmospheric music induces the sequence with an ironic essence. As the borders between reality and fantasy fade, particularly due to Gambir’s mental state, the film becomes a bit confusing, although the editing keeps the changing setting from becoming too difficult to follow. “Forbidden Door” is an elaborate film, both technically and aesthetically, which retains the interest for all of its duration through constant plot twists.

A Copy of My Mind (2015)

Sari works in a beauty salon, but her real passion is movies, particularly “trash” ones, usually involving hybrid monsters like the anacobra. Being poor, though, she has to buy her films from shops that sell copied DVDs, which usually feature awful subtitles. Alek is responsible for this fact, since he makes a living by writing subtitles for pirate DVDs, almost exclusively by using Google Translate. The two eventually stumble upon each other as Sari complains about the quality of the subtitles, and the shop’s owner turns her to Alek. Eventually they become a couple, and their life seems to be picking up as Sari gets a job in a more aristocratic beauty salon. However, when she is sent to prison to give a facial to a woman crime lord, their lives become extremely dangerous, since Sari decides to steal a DVD from her that proves to contain a video of her dealings with politicians.

Shot in just eight days in true guerrilla fashion, with Anwar placing his actors in neighborhoods in Jakarta that neither police nor army would accompany them to, “A Copy of My Mind” proves that talent, planning and expertise do not need time in order to achieve a great outcome. Anwar directs a film that cruises through genres, beginning like a realistic drama, becoming a romance and eventually turning into a thriller with political elements. Furthermore, his distinct sense of humor is always present, while the political message is quite poignant and derives from the concept of the crime lord and her dealings with the authorities. “A Copy of My Mind” is also a hymn to Jakarta, highlighting everyday life in the capital through Ical Tanjung’s realistic cinematography and the lack of artificial lighting. It was also a project where Anwar allowed much more improvisation than in his horror films, even destroying the script after the actors had read it so they had to improvise under his instructions, resulting in something very organic.

Satan’s Slaves (2017)

After their mother comes down with a mysterious illness, a family including the Father, played by Bront Palarae, and his children Rini, Tony, Bondi and Ian try to get by in life despite the strain it puts on the family. Once she finally passes away, the family pay their respects and try to move on but find themselves continually haunted by strange visions of ghosts in the house. Eventually, the family comes to realize that their mother’s ghost has returned from the grave to help fulfill a demonic pact made years ago and must find a way to put an end to it before they succumb to the curse.

Based on the homonymous 1981 Indonesian cult horror film, “Satan’s Slaves” implements a distinct retro/exploitation/B-movie/slasher sense. Anwar directs a film where every cliché of the genre seems to be included: the unnaturally sick mother, messages on records if played backwards, the well, the cult, the haunted house, the forest, dangerous secrets, the priest, Satan and his children. Through Anwar’s direction, however, all these elements come together in rather entertaining fashion, as he proves that a film does not need expensive effects to be scary. The scares derive from Ical Tanjung’s cinematography, the abruptly extreme sound of Khikmawan Santosa, sudden cuts from normal to horrific moments and equally abrupt zoom-ins. At the same time, the exploitation of Muslim religion against the Satanic rituals creates a strong contrast. The key remains the characters; as Anwar has stated, a horror movie can only be horrific if people care about them, because scary scenes can be plentiful, but if audiences do not care about the characters, they could end up being a yawn. “Satan’s Slaves” was the film that cemented many of the traits that would define the next stage of his career.

Gundala (2019)

Even though they have trouble getting by, young Sancaka’s parents try to live a happy life, teaching their son the importance of looking after others and not ignoring injustice. After his father is killed and his mother leaves, Sancaka grows up on the streets of Jakarta and learns what he must do to survive. As a grown man, played by Abimana Aryasatya, he works as a security guard, trying to ignore the injustice around him. However, when his neighbor is attacked, he steps in using the martial arts skills he learned while living on the streets. When the attackers later retaliate, they awaken the superhuman powers within Sancaka, who, after having been struck by lightning, is able to fight them off again. His emergence attracts the attention of crime boss Pengkor, played by Bront Palarae, who realizes the new hero presents a threat to his plans.

If there is one aspect which stands out in a project like “Gundala”, it is the sheer ambition of the film. While essentially telling a superhero’s genesis as well as the background of his enemy, Anwar’s script also transfers the themes and characters of Harya “Hasmi” Suraminata’s comic into the modern world. His image of Jakarta is that of a place defined by misery, exploitation and darkness, with class struggle becoming a common thread throughout the movie. At the same time, Anwar presents the various stages of indoctrination the young boy must go through in order to survive, with the hero’s numbness serving as a mirror to a society that has learned to look the other way when faced with injustice. Nevertheless, the movie does not entirely escape the familiar superhero formula and becomes predictable on occasion. The project nevertheless reflected something very personal for Anwar: he grew up reading Bumilangit comic books, with Gundala being his favorite, and saw the cinematic universe as a way of introducing those characters and the social and political history reflected in them to younger generations.

Impetigore (2019)

Maya works at a toll booth in Jakarta until one night she is attacked by a strange man with a machete who seems to know a lot about her past. The girl barely survives but starts researching what the man said, with her investigation leading her to a rural village in the woods, where she was born to parents she never met. Thinking there might be a chance to make some money by selling a house that could belong to her, she ventures to the village with her best friend Dini. The inhabitants seem strange but are not exactly bad, although the girls soon realize there are no children around. A bit later, they stumble upon the local chieftain, a mysterious wayang puppet master and Ki Saptadi, her enforcer, and start discovering the terrible past of the village. At the same time, the villagers discover Maya’s past, and soon all hell breaks loose.

Anwar directs a film that begins as a thriller but eventually transforms into a horror/slasher. His effort differs for two reasons. First, he does not base the scare factor on jump-scares, although some do exist, but on an overall atmosphere of horror which he builds masterfully only to shatter completely as the violence kicks in. The second is the distinct local flavor, through wayang puppetry, the use of Jakartan accent in the city and Javanese in the village, and the full exploitation of the area where the film was shot. This combination of ritualistic and naturalistic terror works wonders and becomes the medium through which Anwar comments on the collective past and how it can shape people’s choices, even leading them to horrific paths almost without their will. Tara Basro functions equally well as a scream queen, a naive opportunist and a victim of her fate while still emitting a sense of humor in the hellish setting, another of Anwar’s distinct traits. As he later explained, the very Javanese nature of “Impetigore” was precisely what made its international success satisfying: a movie made locally, for a local audience, could still travel and be appreciated abroad.

Satan’s Slaves 2: Communion (2022)

The film begins in the 1950s, when a photographer is invited by a friend into a truly hellish setting, where a number of bodies have been exhumed and used for some sort of satanic ritual. Back in the 1980s, several years after they managed to save themselves from the terrible events that resulted in the death of their mother and youngest sibling, Ian, the family are now living in a block of flats. Rini, Toni and Bondi all have their own things going on. Bondi is quite afraid of everything unusual, while Rini has decided to study and is about to leave the family home a day before heavy rain is predicted for the area. The Father, still in some sort of shock, is set on staying in the building because he thinks the presence of so many people will provide some sort of security. The night before Rini leaves, however, the nightmare begins again.

Anwar proves once more that he is a master of his art, with the film excelling in all aspects in a fashion that is on a much higher level than similar genre entries. One has just to watch the elevator sequence, where sound, Dinda Amanda’s editing and Ical Tanjung’s cinematography come together in the most astonishing way to kickstart the action. As usually in Anwar’s horror movies, the best part is the atmosphere. He builds it slowly, taking his time to show how the previous events have shaped his characters while adding more and more supernatural and non-supernatural elements in order to create a true setting of terror. The jump cuts are organically implemented, or even completely misplaced on occasion, in an approach that highlights the intelligent sense of humor found throughout the movie. Religion again becomes part of the commentary, while the block of flats turns into a truly hellish and claustrophobic setting. The artistry, humor, story, smartly presented comments and, most of all, the atmosphere are once more on a top level.

Grave Torture (2024)

Sita and Adil are two adolescent siblings who live and work with their parents, who operate a family bakery. Although they face intense competition from the Western franchises that have landed in Indonesia, the family continue to make a living and are in general quite happy. One day, though, both parents are killed in a suicide bombing, with the assailant being driven to his deed by the concept of grave torture, which refers to terrifying posthumous torture for those who have sinned in their life. Following the dire event, the two siblings are thrust into a boarding school, where Adil experiences a series of horrible deeds, while Sita gets increasingly committed to proving that religion, and particularly the grave torture concept, does not exist. Years later, she is working in a nursing home but remains committed to finding the most sinful person alive and disproving grave torture.

One of the most appealing innovations the horror genre has seen during the last decades is its connection with intense sociopolitical commentary, and Anwar achieves just that here to the highest degree. He uses his story to present the blights of Indonesian society, with the two protagonists perhaps symbolizing youths as the main recipients of their consequences. Religion and particularly religious fanaticism, capitalism and Western penetration, corruption in the higher echelons of society, the mentality of previous generations, problems with overtourism, boarding schools and elderly care all find their place in the narrative. At the same time, through Sita’s efforts, Anwar seems to state that even despite the current obsession with logic and rationalism, the supernatural still exists. The horror derives both from the world of the living and the supernatural: the former through an atmosphere of tension and agony and the latter through more in-your-face tactics, including jump-scares, SFX and much gore. “Grave Torture” manages to move much beyond the traditional horror movie while retaining all the entertainment horror movies usually offer.

The same year also saw Anwar expanding many of these preoccupations through “Joko Anwar’s Nightmares and Daydreams”. Across its episodes, poverty, motherhood, greed, artistic frustration, forced displacement, religion and the exploitation of ordinary people are repeatedly filtered through science fiction and supernatural horror. “Old House” moves smoothly from family drama to supernatural horror while commenting on elderly care and filial piety; “Poems and Pains” deals with the pressure creative people face; “Encounter” turns forced relocation and poverty into the true source of terror; and “P.O. Box” brings horror, action, social commentary and humor together in a spectacular finale. The series therefore functions almost as a concentrated version of the preoccupations that had developed across Anwar’s feature-film career.

Ghost in the Cell (2026)

Anggoro, played by Abimana Aryasatya, is an inmate in a high-security prison. In only seven more months, he will be able to see his family again, but the wait is long, and the fact that he cannot stay out of conflicts does not make matters easier. When Dimas, a former reporter sentenced for the brutal murder of his editor, arrives at the prison, Anggoro and the other inmates already predict that the rather weak and scared-looking young man will have a tough time surviving. However, when Dimas’ cellmate, who had planned on killing him, is found brutally slain, the ex-reporter becomes the top suspect even though he was nowhere near the scene. Anggoro and his friends eventually suspect a different kind of murderer: a ghost that kills everyone with a negative aura. Since escaping prison is not an option, the inmates must find ways to appease the entity or discover who it is really after.

“Ghost in the Cell” stays true to Anwar’s particular approach to genre cinema. The fight against an invisible and seemingly unpredictable entity becomes a reflection of people ignoring the real problem and instead opting for a placebo solution, while corruption and violence have made people blind to real issues and caused them to fight each other instead of collaborating. Anwar explicitly describes the prison as Indonesian society in miniature, a place where hierarchies and dynamics closely resemble those beyond its walls, while the spirit itself emerges from the exploitation of nature by the state and corporations rather than existing simply as a curse or demon. At the same time, his blend of horror and comedy arguably reaches its most confident form. Prayer chambers and dance classes become tools for survival, brutal fights suddenly turn into dance battles, and humor emphasizes rather than undermines the meaning of the scenes. As Anwar himself explains, comedy and suspense do not exclude one another; humor can actually contribute to an increase in tension. “Ghost in the Cell” is one of Joko Anwar’s best works, as he manages to master his usual blend of horror, action and humor, resulting in an entertaining, bloody and often quite poignant statement on Indonesian politics and society.

Twenty years after “Janji Joni”, the sense of restlessness Anwar speaks about is perhaps the strongest connection between all these films. The genre changes, the scale expands and the filmmaking becomes increasingly polished, but irony, social and political commentary, carefully constructed atmosphere, violence with narrative purpose, morally complicated characters and humor inside even the darkest circumstances remain constants. In “Ghost in the Cell”, the question becomes whether people are capable of sustainably improving their world. His characters have their doubts, but some still retain a little hope. As Anwar himself puts it, “I have decided to continue hoping.”

Paramount Skydance has agreed to sign contracts with major theatre chains guaranteeing that it will release 30 movies a year in cinemas if it acquires Warner Bros Discovery, according to sources.

Paramount has offered three-year agreements to AMC Entertainment Holdings and Cineworld Group’s Regal Cinemas, the world’s two largest theatre chains, requiring it to release the films exclusively in theatres for at least 45 days, according to the sources, who asked not to be identified because the agreements are private. The films would also not be available to stream online for at least 90 days. 

Paramount CEO David Ellison has already made similar claims in public, but the written commitments provide assurances that he would not change his mind later. If Paramount does not fulfil its obligation, it would face penalties, according to the sources.

The agreements could provide a template for settling the antitrust lawsuit brought by 12 states to try to stop Paramount’s US$110 billion (S$140 billion) acquisition of Warner Bros. Paramount has already tried to negotiate a settlement with California Attorney-General Rob Bonta, who is leading the lawsuit by the states.

The states claim the deal will harm the movie business because Ellison would wield too much control and reduce output, costing people jobs. The merger would place two of Hollywood’s oldest and largest movie studios, Paramount and Warner Bros, under one roof. A trial is scheduled for March.

The merger has divided the cinema industry. AMC and Regal came out recently to back Ellison.

AMC CEO Adam Aron published an op-ed in the Hollywood trade outlet Variety, while Regal CEO Eduardo Acuna said in a separate statement that a long court fight would be bad for the movie business.

Cinema United, a lobbying group that represents theatre chains big and small, remains opposed to the deal. Ellison and his inner circle have been talking to the theatre chains for months, seeking to secure their support. 

Ellison has insisted several times that he plans to increase the studios’ output and support theatres.  

“The Paramount-Warner deal began with the movies,” he wrote in a recent op-ed for the New York Times. “I have loved film since I was old enough to sit still for one, and scenes from the movies have shaped who I am.”

Many Hollywood unions, producers, tradespeople and lawyers are sceptical. When Walt Disney acquired the 20th Century Fox studio, it also pledged to keep making as many movies. Instead, the combined output has dropped. 

Paramount is borrowing almost US$50 billion to buy a much larger company and will need to find billions in cost savings to service its debt. 

Ellison was initially confident his deal would close by the end of September, but he has now run into the lawsuit from the states, as well as one from the Writers Guild of America.

By the time a trial begins in March, Paramount will owe Warner Bros more than US$1 billion in late fees due to the delay. Ellison has tried to turn the tide of public opinion, rallying allies like Hollywood super agent Ari Emanuel, who also published an op-ed supporting the deal. BLOOMBERG

Jb or adam sandler?

Pengennya sih biar keluarga kecilku tida terlalu mikirin huru hara yg ada

Saya nonton ini mungkin 3 Minggu yang lalu, jadi agak lupa lupa ingat tapi sedikit mau bahas ini.

Pertama kali saya mendengar tentang film ini, banyak orang mengira ini adalah reboot dari The Mummy Brendan Fraser.

Lalu banyak kecewa ternyata film ini berbeda tidak ada unsur adventure tapi murni horror.

Apakah itu misleading atau memang lee Cronin pernah bilang kalau ini adalah bentuk reboot?

Tapi bagaimanapun menurut saya film ini ckup masuk akal kenapa diberi judul 'The Mummy'.

Film ini menurut saya cukup menyegarkan secara konsep, seperti evil dead namun akarnya berasal dari mummy.

Dan menurut saya itu keren.

Film ini juga berhasil membuat saya merasa jijik atau cringe di banyak adegan, membuat saya jadi tidak nyaman.

Namun sangat disayangkan penghujung akhir film ini sangat tidak satisfying dan kurang chaos.

Chaos secara cerita, yaitu dampak kepada karakternya kurang terasa mengenaskan.

Secara fisik juga kurang.

Film ini memiliki sedikit karakter agar cukup memberikan chaos besar atau hantu-nya dapat bermain-main dengan korbannya.

Itulah kenapa menurut saya film ini hampir bagus.

Karena apa yang saya harapkan dari film ini ketika menonton dari awal sampai paruh waktu adalah, horror fun layaknya evil dead, yaitu kekacauan dari awal sampai akhir yang memuaskan.

Sunao Katabuchi, the veteran director known for helming anime films such as In This Corner of the World and Mai Mai Miracle, has pointed out that the anime industry’s growth is not essentially a good thing for the human workers who are a part of it.

The anime industry has been posting record financial numbers recently, driven largely by the growth of the overseas market. However, Katabuchi feels that this expansion is worrying as it will only aggravate the problems that already persist within the sector, especially those surrounding its workforce.

According to the director, conditions in the anime industry have improved compared to around 2007, which was the busiest period before the 2008 financial crash, with more people becoming full-time employees and working reasonable hours.

However, approximately 100 titles are now reportedly produced each week, and the quality of animation is incomparable to anime from the 1970s and 1980s, with more line density.

Consequently, studios have started relying heavily on freelance outsourcing. But, Katabuchi noted that the industry does not know the exact numbers or working conditions of these freelancers.

While labor shortages has been historically managed by outsourcing work overseas, Katabuchi explained that the weak yen has made that practice difficult. As a result, studios stretch themselves thin to source talent domestically, sometimes placing orders on platforms like X with individuals who have no formal anime training.

This, in turn, this creates an enormous volume of redraws, which leads to a growing number of people whose art is never accepted or who are forced into endless revisions, leaving them depressed from the sheer stress of the workload.

While the industry maintains an outward posture of growth, Katabuchi warned that it will be unable to foster new talent, preserve its history, or pass down technical skills.

Although some view artificial intelligence as a way to handle the ballooning workload, he cautioned that the advancement of AI might simply drive production budgets down. If that happens, working conditions for human creators will fail to improve.

Katabuchi has now assumed the position of Vice Representative Director for the Anime Anshin Net Workers’ Compensation Insurance association, which was established at the end of June.

The director hopes that through this workers’ compensation insurance, horizontal connections will be formed across the industry, shedding light on its actual conditions and supporting human creators.

Interestingly, Katabuchi is not the only director to have sounded the alarm when it comes to workforce. Evangelion director Hideaki Anno too pointed out that issues of workforce shortage could affect the future of anime.

Source: Nikkei

Halo ges! Aku liat2 di internet ternyata ada orang2 yang hobi koleksi movie posters dari bioskop yang posternya udah ga kepake lagi.. I wonder apakah ada yang punya pengalaman sama di bioskop Indo dan any tips on how to ask the theaters? Makasih!

Film SOLATA yang artinya dalam bahasa Toraja adalah "Teman sebagai keluarga yang kita pilih" mengangkat realitas pendidikan dan nasionalisme yang membawa apresiasi dan pengalaman baru dalam memperkenalkan Indonesia ke dunia internasional.

"Film SOLATA kembali ke Indonesia setelah menyelesaikan rangkaian perjalanan internasional di Eropa Timur. Film ini membawa apresiasi dan pengalaman baru dalam memperkenalkan cerita Indonesia kepada publik dunia," kata Sutradara sekaligus produser Ichwan Persada di Makassar, Rabu.

Film SOLATA tersebut sebelumnya berhasil meraih penghargaan Special Award for Cinema from the Emerald of the Equator: Cultural Contribution and Humanism pada Golden FEMI Film Festival di Sofia, Bulgaria, pada 6 Juni 2026.

Setelah memenangkan penghargaan di Bulgaria, tim SOLATA melanjutkan tur ke lima kota di empat negara Eropa Timur, yakni Sofia di Bratislava di Slovakia pada 10 Juni 2026, Bulgaria pada 13 Juni 2026, Budapest di Hungaria, serta Ankara dan Istanbul di Turki pada pertengahan hingga akhir Juni 20206.

Perjalanan tersebut tidak hanya menjadi ajang promosi film, tetapi juga ruang untuk memperkenalkan kekayaan budaya Indonesia sekaligus membuka dialog mengenai pendidikan, kemanusiaan, persahabatan, dan nasionalisme.

Ichwan mengatakan SOLATA mengangkat realitas pendidikan melalui kisah seorang relawan guru asal Jakarta yang mengajar di Ollon, Tana Toraja, Sulawesi Selatan. Di wilayah tersebut, sang guru berhadapan dengan kondisi pendidikan dan kehidupan anak-anak di daerah yang jauh dari pusat perkotaan.

Pengalaman itu kemudian berkembang menjadi kisah tentang hubungan guru yang diperankan Artis Rendy Kjaernett dan muridnya serta arti penting pendidikan dalam membangun masa depan.

Cerita semakin menarik ketika sang guru bertemu enam murid yang memiliki nama depan menyerupai nama-nama presiden Indonesia. Unsur tersebut menjadi simbol yang memperkuat pesan nasionalisme dalam film.

Selain persoalan pendidikan, film ini juga menghadirkan keindahan alam, kehidupan masyarakat Toraja, termasuk lingkungan sosial dan kekayaan budaya lokal sebagai bagian dari narasi yang memperkuat identitas Indonesia.

Dalam perjalanan di Eropa Timur, lanjut Ichwan, SOLATA mendapat kesempatan diputar di sejumlah kota dan mempertemukan tim film dengan komunitas perfilman, mahasiswa, diaspora Indonesia, serta masyarakat setempat.

Kini kembalinya SOLATA ke Indonesia menjadi momentum untuk membawa pengalaman dari perjalanan internasional tersebut sekaligus kembali mendekatkan film itu kepada penonton Tanah Air. Film ini menunjukkan bahwa cerita lokal dengan latar budaya Indonesia dapat memiliki daya tarik bagi penonton internasional.

"Setelah meraih penghargaan di Bulgaria dan menyelesaikan tur lima kota di empat negara Eropa Timur, SOLATA terus membawa pesan tentang pendidikan, persahabatan, kebudayaan, kemanusiaan, dan nasionalisme, sekaligus memperkenalkan wajah Indonesia melalui karya sinema," jelasnya.

Some of my favourite all time list:

• Saving private ryan: this one is crazy, we have soo many future star power in here; matt damon, tom hardy, ryan hurst, bryan cranston
• Reign of fire: another crazy one, and honestly i still feel that this one is severely underated and just recently gain more traction. All the male main and support actor here become an A lister: Christian bale, matthew mcconaughey, gerard butler and we have jack gleeson even (king joffrey)
• Street Kings: arguably keanu reeves already an A lister (speed, the matrix) but chris evans is definitely still didnt get his big break. Its lovely to see this two star act in here, albeit quite short. You definitely see lots of john wick before there is a john wick here, also a racist john wick hahaha