brightlight Archives

Dec132025 by cineverseNo Comments

How the ‘Silent Night, Deadly Night’ Remake Mixes an ‘Elf’-Inspired Romance With a Blood-Soaked Santa Story

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By William Earl According To The variety The 1984 slasher “Silent Night, Deadly Night” was an above-average movie, which grew in infamy due to advertising that depicted a bloodied, axe-wielding Santa. Nationwide protests to shield children from the images coincided with the opening, which, of course, had the unintentional effect of drumming up more business. This ultimately led to four more chapters in the series and a loose 2012 reboot, yet most of the movies haven’t stood the test of time in the horror community compared to franchises like “Halloween” or “A Nightmare on Elm Street.” In fact, horror filmmaker Mike P. Nelson says his first experience with “Deadly Night” wasn’t the film itself, but rather the advertising campaign. I was born in ’82 and the movie came out in ’84,” N...

Dec12025 by cineverseNo Comments

Praveen Morchhale on ‘White Snow,’ Kashmir and Film Censorship: ‘Cinema Today Lives Under the Shadow of Fear of Disappearance’

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By Naman Ramachandran According To The variety Praveen Morchhale‘s latest feature “White Snow” follows a mother’s arduous trek through Kashmir’s Himalayan peaks to screen her son’s banned film, marking the director’s continued exploration of artistic suppression and human resilience. The Urdu-language drama, produced by Barefoot Pictures with co-production from France’s Woooz Pictures and associate producers from Germany and Canada, made its world premiere at the Sao Paulo International Film Festival before screening at the International Film Festival of India in Goa. The film is currently playing at the Jogja-Netpac Asian Film Festival, of which the industry component is the JAFF Market. “White Snow” centers on Fatima, whose filmmaker son Amir sees his work banned after...

Dec12025 by cineverseNo Comments

Time-Travel Drama ‘To My Dearest, My Dear’ From ‘The Most Handsome Fish on Earth’ Director Lands at JAFF Future Project

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By Naman Ramachandran According To The variety Netanya Yemima, whose short film “The Most Handsome Fish on Earth” premiered at the 20th Jogja-Netpac Asian Film Festival last year, has her feature directorial debut “To My Dearest, My Dear…” selected for the JAFF Future Project, a time-travel drama about a dying father who leaps into the future to meet the daughter he’ll never live to see. The Indonesia production, directed by Yemima and produced by Bela Nabila and Bayu Arief, is among 10 Asia-Pacific titles selected for the JAFF Future Project at this year’s JAFF Market in Yogyakarta, Indonesia. The project previously participated in Jakarta Film Week Producers Lab 2024 and Platform Busan 2025. To My Dearest, My Dear…” follows Adam, a soon-to-be father diagnosed...

Nov302025 by cineverseNo Comments

Lilly Wachowski on Right-Wing Misinterpretations of ‘The Matrix’: ‘You Have to Let Go of Your Work’

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By Jack Dunn According To The variety During a recent appearance on the “So True with Caleb Hearon” podcast, co-director Lilly Wachowski was asked about certain right-wing groups attaching their ideologies to her 1999 sci-fi masterpiece “The Matrix.” Wachowski said she’s unbothered by conservative misinterpretations and knows how to separate herself from her films once they’re released to the public. “You have to let go of your work. People are gonna interpret it however they interpret it,” Wachowski said. “I look at all of the crazy, mutant theories around ‘The Matrix’ films and the crazy ideologies that those films helped create and I just go, ‘What are you doing? No! That’s wrong!’ But I have to let it go to some extent … You’re never gonna be able to make absolutely eve...

Nov302025 by cineverseNo Comments

Vincent Lindon Bets on Socially Conscious Films That ‘Prevent Him From Behaving Badly’: ‘I’m Weak. They Force Me to Be Stronger

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By Marta Balaga According To The variety French actor Vincent Lindon often plays well-meaning characters. But he can’t take credit for their selfless choices, he stressed. “When I made ‘Welcome’ [about a man helping Kurdish refugee] there were people in the street who shook my hand and said: ‘Thank you very much for what you do for the migrants. Really, Mr. Lindon, bravo.’ I replied: ‘Thank you, but it’s not me’ “When I made ‘The Measure of a Man,’ they said: ‘You’re really brave.’ They confuse what I do in films with who I am in real life. But my small contribution is that I’m still making them. I could’ve been making bigger films, earning more money and taking fewer risks.” Speaking at Torino Film Festival, where he’s set to pick up the Stella della Mole award ...

Nov292025 by cineverseNo Comments

Oscar Race Wide Open for Non-U.S. Directors Like Jafar Panahi and Joachim Trier to Shine

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By Matt Minton According To The variety As the Academy of Motion Picture Arts and Sciences continues to diversify its voting membership, with 55% of 2025’s invitees hailing from outside the U.S., these efforts have not only resulted in more international films like “Drive My Car” and “Emilia Pérez” earning nominations and even trophies across the board, but have also opened the gates for the director category to become more global. Among this year’s strong international contenders for the director Oscar: Joachim Trier (“Sentimental Value”), Jafar Panahi (“It Was Just an Accident”), Park Chan-wook (“No Other Choice”), Kleber Mendonça Filho (“The Secret Agent”), Kaouther Ben Hania (“The Voice of Hind Rajab”), Oliver Laxe (“Sirāt”) and Annemarie Jacir (“Palestine 36”). While some of the...

Nov292025 by cineverseNo Comments

The Kartli Kingdom’ Review: Georgian Refugees Live Decades in Limbo in an Elegiac Observational Study

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By Guy Lodge According To The variety Named for the late medieval Georgian monarchy that once stood proud on the same land, “The Kartli Kingdom” is a ruefully ironic nickname for less-than-royal lodgings: a derelict sanatorium in overgrown semi-rural grounds, overlooking the brighter lights of central Tbilisi in the distance. Once home to a state-of-the-art cardiology hospital that was shuttered in the early 1990s, its wards have since been occupied by hundreds of Georgians left homeless by the 1992 war in Abkhazia — now a devastated sovereign territory to which they cannot return. Over the last 30-odd years, what was intended to be a temporary shelter has become a long-term purgatory, and that eerily stretched stillness of time is poignantly captured in Tamar Kalandadze and&n...