The Cinematic Cut

Paramount-Warner: the “Hollywood endogamy” crisis The studios and the financial components of this ‘financialization’ of our ‘beloved industry’ have little magic left in them and are, instead, essentially mechanisms of extraction.

“The studios and the financial components of this ‘financialization’ of the film industry have little magic left in them; they function as extraction mechanisms. A model that has led the so-called mecca of cinema into a state of labor and economic precarity.”

My thoughts on Warner’s acquisition.

Money rules.

What better tribute to “cinema” and the misery we're living through, the continuous financialization of Hollywood studios, than this amazing scene from “Cabaret”. #Paramount #Warner

This is, without a doubt, one of the most iconic and wonderful musical scenes in the history of cinema.

“Victor/Victoria” (1982) is among the best musicals of the last 45 years, a true masterpiece that only a master like Blake Edwards could have created. It was his only Oscar nomination.

Newsletter #36 – Locality and Streaming, the New Battleground of the (Worldwide) Culture War Good morning,

New text on my Substack channel.

This time is dedicated to local media, including the suspicious merger of Nexstar and Tenga, the dismantling of PBS, and YouTube's massive domination.

The fact that this movie is more than a hundred years old and it is still looks amazing.

“The Last Laugh” (1924), by F.W. Murnau

The ideological war behind the triangle formed by Warner, Netflix, and Paramount To no one’s surprise, the ideological war has continued to dominate headlines.

“The ideological game we see on social media, in the press, and in political spaces has turned into an almost gang-like logic of good versus evil, with social networks functioning as the back alley where scores are settled.”

I hope you like this article ❤️

Robin Williams as Barbra Streisand always makes me happy ❤️

The Economy of the Moving Image The new economy of the image challenges us to create time and silence so that cinema can recover its affective power beyond the constant overthinking that postmodernity has pushed us into.

“The Economy of the Moving
Image”

The new economy of the image challenges us to create time and silence so that cinema can recover
its affective power beyond the constant overthinking that postmodernity has pushed us into.

The creepy cameo by Robert Duvall in "Invasion of the Body Snatchers" (1978) 🫠

Rest in peace icon ❤️

“Wuthering Heights”

Enjoy your fingers 👉🏼👅💦

Winter in Disney movies is simply magical ❤️🎄🫠

It's that time of year ❤️ and this is one of the perfect movies for it.

In just two years, “The Holdovers” (dir. Alexander Payne) has become a holiday cult classic 🎄

“Casual fashion” 🫠

I need that cape with peacock feathers ❤️

Actually, I need the whole dress.

The Trauma of the Pandemic: Cinema of Mourning and Death The films arriving now, and yet to come, are infused with a deeper, almost visceral residue: death and mourning, an emotional echo rooted in something far more profound.

The Trauma of the Pandemic: Cinema of Mourning and Death.

The films arriving now, and yet to come, are infused with a deeper, almost visceral residue: death and mourning, an emotional echo rooted in something far more profound.

I hope you like this text 💖

This scene will define 2025 cinema.

‘One Battle After Another,’ directed by Paul Thomas Anderson 🎬🎥

One of the favorite films to win the Oscar for Best Picture and Director. Betting is now open!

This creepy one stayed in my mind for a while.

“End of Days” (1999).

It's Monday!

Burt Reynolds’ arms in "Deliverance"(1972) 🙃🫠💕

Audrey Hepburn on the cover of Vogue, 1963 💕

This is the Oscar that the Academy still owes to Glenn Close.

’Dangerous Liaisons’ Stephen Frears, 1988.

I want whatever alcohol or drugs the person who planned this scene took.

It’s both amazing and terrible 🙃

One of the most nerve shredding sequences ever filmed.

“Sorcerer” (1977) dir. William Friedkin

Best #Thanksgiving movie? I start! 🍂🦃

This is still the most terrifying movie of the decade.

'Rebecca' (1940) Alfred Hitchcock.

One of my favorite movies ever 🫶

Film Tariffs: A Path Toward Institutionalizing North American Cinema? In the United States, a scenario like this would not only force Trump to confront his own internal contradictions, but would also compel the federal government to define what cinema actually is.

Film Tariffs: A Path Toward Institutionalizing North American Cinema?

In the United States, a scenario like this would not only force Trump to confront his own internal contradictions, but would also compel the federal government to define what cinema actually is.

Mia Goth and Oscar Isaac on the set of “Frankenstein”.

TV spot for “Battlestar Galactica” (the movie), 1978.

“X-Files” through David LaChapelle's eyes and lenses 🔥🫨 I want to live in them.