Layla M, the Dutch film entry for Academy Award Nomination in the Best Foreign Language Film Category is directed by Mijke de Jong and co-written by Mijke and her husband Jan Eilander. It features a compelling young Moroccan actress, (Nora El Koussour) who brings fire and passion to her role as an integrated 18 year old Dutch-Moroccan in Amsterdam who becomes increasingly radicalized along with her new husband, Abdel played by Ilias Addab.
‘Layla M. had its world premiere at Toronto Film Fest 2016 Platform. International sales are by Beta
As soon as the film opens, you understand that Layla is a tough girl in her neighborhood as she fights the football referee on his call and does not back down. She is also fighting for her rights as a Muslim woman wearing a burka and uses social media as only one in her generation knows how. She lives in an assimilated,...
‘Layla M. had its world premiere at Toronto Film Fest 2016 Platform. International sales are by Beta
As soon as the film opens, you understand that Layla is a tough girl in her neighborhood as she fights the football referee on his call and does not back down. She is also fighting for her rights as a Muslim woman wearing a burka and uses social media as only one in her generation knows how. She lives in an assimilated,...
- 10/19/2017
- by Sydney Levine
- Sydney's Buzz
Allen Jenkins. Illustration by Tony Millionaire from the book The Depression Alphabet Primer, by Daniel Riccuito with illustrations by Tony Millionaire.
Utterly relaxed in his lumpen condition, character actor Allen Jenkins craves no self-improvement—external circumstances are a perennial cause of concern, but within his skin, everything is pronounced satisfactory. He and the world have agreed to disagree. Imagine a sad and slapdash identikit collaged from discards veering toward Neanderthal.
Overall effect: the big toe.
Jenkins excels as stooges and losers when Hollywood is choked with them. His powerhouse harnessed to stock screen personas, as if to fulfill a collective need of the 1930s, every mother’s son compressed into one hyphenate—the titan-shlump. An American type, ideal for our man Jenkins, who could explode into three dimensions and collapse again; it would serve him well throughout a fairly long career, even as his habitual boozing persisted.
As a hit-man...
Utterly relaxed in his lumpen condition, character actor Allen Jenkins craves no self-improvement—external circumstances are a perennial cause of concern, but within his skin, everything is pronounced satisfactory. He and the world have agreed to disagree. Imagine a sad and slapdash identikit collaged from discards veering toward Neanderthal.
Overall effect: the big toe.
Jenkins excels as stooges and losers when Hollywood is choked with them. His powerhouse harnessed to stock screen personas, as if to fulfill a collective need of the 1930s, every mother’s son compressed into one hyphenate—the titan-shlump. An American type, ideal for our man Jenkins, who could explode into three dimensions and collapse again; it would serve him well throughout a fairly long career, even as his habitual boozing persisted.
As a hit-man...
- 12/29/2014
- by David Cairns & Daniel Riccuito
- MUBI
Doris Day is Turner Classic Movies' Star of the Month of April 2012. TCM's Doris Day homage begins this evening with eight movies released at the start of Day's career at Warner Bros. In addition to Day's presence, what those movies have in common is the following: little plot, lots of music, and Old Hollywood's fluff-producing machinery at work. If that's your thing, don't miss them! Of those, the better one is probably Roy Del Ruth's On Moonlight Bay (1951, photo). Though nothing at all like Del Ruth's crackling Warner Bros. movies of the early '30s — e.g., The Maltese Falcon, Beauty and the Boss, Blessed Event — this musical comedy set in a small American town prior to World War I offers some genuine nostalgia, great songs, and charming performances, including those of the two good-looking leads, Day and Gordon MacRae. On Moonlight Bay was popular enough to merit a sequel,...
- 4/3/2012
- by Andre Soares
- Alt Film Guide
Each year New York residents can look forward to two essential series programmed at the Film Forum, noirs and pre-Coders (that is, films made before the strict enforcing of the Motion Picture Production Code). These near-annual retrospective traditions are refreshed and re-varied and re-repeated for neophytes and cinephiles alike, giving all the chance to see and see again great film on film. Many titles in this year's Essential Pre-Codeseries, running an epic July 15 - August 11, are old favorites and some ache to be new discoveries; all in all there are far too many racy, slipshod, patter-filled celluloid splendors to be covered by one critic alone. Faced with such a bounty, I've enlisted the kind help of some friends and colleagues, asking them to sent in short pieces on their favorites in an incomplete but also in-progress survey and guide to one of the summer's most sought-after series. In this entry: what's playing Friday,...
- 8/4/2011
- MUBI
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