livid ( film )
now, rakesh roshan is reportedly livid with shah rukh khan changing his film raees' s release date to clash with hrithik' s film kaabil .
paris - based la fabrique de films will produce “livid, ” the next film from julien maury and alexandre bustillo (“inside”). marking the duo’s english - language debut, “livid” is skedded for a september shoot in ireland .
' livid' s true gift is its creative madness, a film that' s drenched in imagery that will resonate with viewers for decades .
for detailed information about the development of film colors. it’s illustrated with several thousand photographs of historical film prints .
livid is almost all allegory, mood, style, flourish, freak - out and suspense .
dimension films acquired u. s. distribution rights to livid last summer, ahead of the film' s premiere at the toronto international film festival. while dimension has not yet announced any plans to release livid, either theatrically or on home video, french distributor snd films has set doug davison and robert léger to produce a remake .
they were pretty annoyed that it was a british film crew ruining their holiday — and they were livid when they found out that it was about their defeat .
bustillo: i think that livid is more european than inside. inside was a slasher movie made in a sort of american style. livid, i think, is more like a lurid fairy tale and very european .
what do you consider livid’s monster anna to be? some form of vampire? she’s a very unique creature .
livid ’s elegiac ending lifts the film away its hard - hitting violence and into a mystical realm. perhaps maury and bustillo were making a gesture to the women who could be intended as part of the audience for a film with a mostly female cast .
so great! i’ve done some study of film, but i never learned about the history of film color photography. so thanks for that! !
efa, the rotterdam film festival and french srf directors guild step up campaign .
livid (2011) is a strong second effort after the first genre film of this team, inside, launched to quick classic status. would have been even better had the last 10 minutes been cut .
budgeted at $ 8. 5 million, “livid” continues fabrique’s line in competitively priced, low - budget genre films. pic also looks set to be structured as a france - ireland co - production. “livid” will be ready for delivery in spring 2010 .
livid ’s extreme violence out - bleeds del toro, however, at times almost turning the breton heath into hostel territory, with female characters doing virtually all the damage. if there’s a market for this sub - section of gender equality, livid can exploit it .
nothing is scarier - much of the film prior to the third act follows this .
out of the toronto international film festival. it was quickly announced that a remake would be in the works, but nothing ever came into fruition – with either film .
livid tarts up a grab - bag of supernatural / kids - in - peril b - movie clichés with an arty pretension that grates .
one film that had a lot of heat going into the fest – and not necessarily a lot of heat coming out – was livide (now livid) from inside directors julien maury and alexandre bustillo. their gory debut film had people primed for another bloodbath, but what they got was something much, much different .
' livid' german tourists are reported to have prevented michelle keegan from shooting scenes for her upcoming tv drama - after staging a sunbed revolt .
i should say, too, when we were putting temporary music into the film as a guide for our composer, we used the soundtrack to inside, julien maury and alexandre bustillo’s movie. and then julien came to sxsw this year to premiere their new film, among the living; i know those guys from when i went to paris last year and was actually trying to remake their second film, livid .
paris - based la fabrique de films will produce “livid, ” the next film from julien maury and alexandre bustillo (“inside”). marking the duo’s english - language debut, “livid” is skedded for a september shoot in ireland. headed by verane frediani and franck ribiere, la fabrique has also taken gallic distribution rights. overlook entertainment, fabrique’s foreign sales agent, will handle [ … ]
billed as a “dark romantic fairy tale, ” “livid” turns on three young men who decide to rob an elderly woman’s house in the irish heathlands .
film ini bercerita tentang 3 orang yang berniat merampok nenek yang sedang mengalami koma di rumahnya. dari situ aku rasa livid ini rada mirip don’t breathe hmm maybe not that much, hanya saja livid ini nuansanya lebih horror karena setting tempatnya yang kuno dan lebih diceritakan sejarahnya rumah itu dan masa mudanya nenek itu. jumpscare ketebak, akting aku rasa belum natural, tapi tone - nya udah cukup oke. don’t expect too much ke film ini karena tidak menyajikan hal yang berbeda dari horror lain i guess .
the 51st sitges – international fantastic film festival of catalonia has just opened the submi ...
the film competition will also be remembering the frankenstein myth on its bicentennial, highlightin ...
the statuettes for guillermo del toro with the film that opened the festival’s fiftieth annive ...
the sitges - international fantastic film festival of catalonia will be participating in two session ...
. while there are some grisly moments, the film is considerably less gory than its predecessor .
you really should make a history lesson on movie sound because it was evolutionary like color film .
priyadarshan was livid once again .
what can i say? i am getting to know they are not removing the song only now. i don' t want to say anything negative when the film is hours away from release ,
he said .
slate entertainment group (seg) and sitges international fantastic film festival of catalonia (sitge ...
the film competition will be screening four movies selected by the sitges festival and showcasing th ...
inside is possibly my favourite horror film of all time. i' ve not seen a horror film that matches its thrilling intensity and roller - coaster ride feeling, apart from maybe the ...
troian bellisario and bailey noble in a scene from the film by the directors kevin and michael goetz .
my experience in film production has been exciting, i only wish to carry on down this path and fulfil a satisfiying career in film and tv. after completing my studies, with extensive film theory research and production experience over the years, i am now committed and experienced in production based features and shorts .
so i sat down and watched livid, a french language film by the directors bustillo and maury and was lost within a stylised, gothic and brutal world of adult fairy tale. if i were looking for a comparison, on the fairy tale level, i might cite
the university of barcelona (ub) and the sitges - international fantastic film festival of catalonia ...
check out the film for yourself above and read about how thames is a product of blondey’s environment further .
photographers were livid on thursday night when they showed up to the tribeca film festival premiere of the movie “flames” expecting to see james franco, shia labeouf and greta gerwig on the red carpet, but instead got a bunch of unknown cast members wearing masks of the famous faces .
alexandre bustillo beatrice dalle catherine jacob chloé coulloud dimension distribution felix moati jeremy kapone julien maury livid livide marie - claude pietragalla release remember this the weinstein company tiff weinstein co .
this means that the shah rukh khan film will be releasing on the same day as that of hrithik roshan' s kaabil. it remains to be seen which film will emerge as the winner once both films release .
while the film is hardly a lifetime movie, the brothers goetz might not necessarily disagree with ms. hayes that their film will appeal to women. “when you use the word ‘hope’ with the word ‘martyrs, ’” it makes people livid, kevin goetz said. “but this film and this screenplay have a glimmer of hope in the fact that these two women will do whatever it takes to survive. ” michael goetz added, “at all the screenings we’ve had so far, women have reacted very well. ”
if we’re judging purely based on aesthetics and atmosphere, yeah livid pretty much nails it. it feels unnatural and uneasy at all times, throughout the film, and there are some very memorable scenes, which would be hard to forget. but the plot really unraveled as the film went on for me. it needed to choose to either go fully serious like the orphanage or it’s needed to opt for a trashy house on the haunted hill vibe. unfortunately it’s a little lost in the middle and was a let down towards the end. as far as we’re judging solely based on the first hour of the runtime, yeah livid’s a pretty decent horror flick. i’m hoping guadagnino’s upcoming suspiria remake does a better job of the horror angle of livid .
guy ritchie has revealed why he cast david beckham in his new film king arthur: legend of the sword .
livid is still making the festival rounds, but here' s hoping it will become more widely available ahead of the english - language remake. the french trailer is embedded below .
maury: yes. what you see on screen is very different from what we wrote. there were many changes. livid was the same budget than inside. it’s actually lower even .
is a french horror film released in 2011. it is alexandre bustillo and julien maury' s follow - up to
much of the film' s dialogue is taken from contemporary accounts of the draft riots, albeit out of context .
i know this is a little redundant, but color is important to film in many ways. without it, we may of never had color symbolism, and it has become important to the character of the setting of the film .
a shame, too, but let’s get back to happier topics. [ laughs. ] thanks, it’s still a sore spot. nobody will ever call their original livid a perfect movie, but there are so many interesting things in it. in some ways, my reasoning for doing the livid remake was to make an american response to the things they’ve been doing in france .
. not that this film marks a passage into womanhood but that both are fairy tales, dark, bloody and adult .
eddie redmayne arrived to the film is great reception with his pregnant wife, hannah bagshawe, on friday in west hollywood .
the highly anticipated hollywood film, directed by zack snyder, is set to be one of the biggest releases this year .
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after seeing their debut film inside which was all kinds of nasty livid is a very different beast. although, i like how scissors are becoming a motif for these two directors. on rewatch i noticed that the central plot was stolen by don' t breathe - 3 folk go rob a house and it all goes wrong - but livid still does it better: more surreal, more fantasy... more weird. it' s like a grimm fairy tale but with the nasty bloody bits left in .
no one faults a spook house for lacking a strong narrative - - we want chills and thrills and an excess of horror imagery that borders on gaudy. in that way, livid completely delivers .
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. it represents the percentage of professional critic reviews that are positive for a given film or television show .
after the makers of hrithik roshan - starrer kaabil changed the film' s release date to january 25 from january 26 to avoid clashing with shah rukh khan' s raees, now reportedly, srk has also changed his film' s release date .
i was a huge fan of livid when i first saw it. although i' ve heard it' s tough to get hold of in the us it has a bluray release in the uk .
the film director is on tonight' s graham norton show, and explained what made him cast the legendary former england captain .
guy then went on to confess he hates going to film premieres, saying
they' re not designed for fun
.
the film took in about $ 1 million globally before moving to dvd in 2009. it has drawn fans ever since. featured on the covers of the horror magazines fangoria and rue morgue, it’s a film devotees know about even if they haven’t seen it .
i' ll be interested to see what these two directors get up to on the chainsaw massacre prequel leatherface, their next film .
i love him, he’s on the same frequency as me and it made sense for him to be in the film .
it' s fair to say the first takes on the film have been fairly mixed ahead of its release nationwide on march 25 .
hell - cat maggie may seem like a ridiculous caricature, but she was a real person and exactly as depicted in the film .
thames founder blondey mccoy has found his next avenue of creative expression and it’s a fashion film project titled land of the livid. directed by and starring the 20 - year - old london skater, the film showcases the city of london and thames pieces from the vault in addition to featuring his longtime friends and skaters jack fussey and robin lambert just kicking it and fooling around through areas like southbank and soho. mccoy actually acquired a keyboard and learned to play abba’s “the winner takes it all” and the smiths’ “oscillate wildly” for the film which is being shown as part of british fashion council’s men’s week this june .
the directors of' inside' go in a completely different direction, and the result is (again) a damn good horror film .
no only do i bring my passion and enthusiasm to any project i am involved in, but my personality shines through and is widely respected and recognised with film crews i have worked with. experience with hospitality and customer service allows my skills as a production assistant to be attentive towards cast and crew. with volunteering as part of a film cafe and dance cafe in local festival in ireland to colchester film festival 2015 .
is there any sort of community forming between the current wave of french horror directors that popped up over the last decade? i noticed that both your cinematographer and editor on livid had worked on a few of those films .
to the film' s credit however, it does showcase plenty of dirt and grime amongst the three leading actors. one such notable instance includes
julien is a media professional and educator based in ipswich, suffolk. born in france and raised in germany, he trained in denmark and the uk and has a strong background in digital film production. alongside his role as co - director of livid films, he has produced corporate media for organisations including the nhs, suffolk constabulary, lapwing suffolk and the danish arts association .
livid brings us vampires in a brittany backwater. the blood - fest directed by julien maury and alexandre bustillo is a sign that the french are catching up in a genre that’s never been too gallic, drawing richly on the work of others .
as to the original, our own todd brown described it as
quite possibly the most anticipated international horror title of the year and one that threw audiences at the toronto international film festival through a bit of a loop due to its radical shift in style. livid has proven to be a polarizing title, a highly stylized fusion of haunted house story and creature feature with heavy giallo overtones .
what an interesting piece! i cannot even begin to imagine the tedium of hand - coloring each frame in early color film back in the good days .
the film follows the story of a group of kids in a maine town, who are faced with their biggest fears when they meet evil clown pennywise .
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left, bailey noble in the american remake of the french horror film “martyrs. ” right, mylène jampanoï in the original “martyrs, ” from 2008 .
three kids skip school in order to explore an abandoned film studio lot where they catch site of a woman being dragged across the lot by a masked man .
from the trailer, livid looks like a nightmare that could only come from the land of new wave and surrealism. the glimpses of bodily horror bring to mind un chien andalou, luis bunuel ’s definitive silent film that was embraced by paris in 1929. there’s a distinct style, and i’d be curious to see how the story and form are translated for american audiences. see the original trailer and synopsis below :
much of the atmosphere of livid will bring guillermo del toro to mind (films that he’s produced and directed) – creaky repository / house, grey / brown rusticated palette, accursed child vampires, and a butterfly that flies from one girl to another .
as a whole livid is a bold move for bustillo & maury and they deserve to be commended for it. beginning their careers with a film that reached classic status and bravely avoiding the trappings of retreading the same material or remaking a classic such as hellraiser for a follow - up was obviously no easy task. you can tell that they both put their all into this production and it shows in the finished product. hopefully with their future outings they continue to explore new approaches and stories to provide us with movies that astound. if the ending was approached in a different manner livid would be a gem but the finale really takes you out of the story and takes the movie down a couple of notches .
the rider is a stunningly - shot film, its crisp imagery and livid sound design in natural harmony with piece and its south dakota settings. on a purely narrative level, zhao’s story may strain as it edges down familiar routes, but its emotional connections pulsate throughout, making this a natural for festival and arthouse play to zhao’s growing fanbase. her approach to fictionalised biography should also be embraced, as it continues to break new ground .
then, at the halfway mark, the film delves into the backstory of the old lady, and everything goes to shit. it seems that the filmmakers just had a…
speaking to dna, the producer of kaabil and hrithik' s father rakesh roshan said ,
whatever dates we are taking, they are following us. i would have never done the same. i belong to an old school of filmmaking and i have given 50 years of my life to the industry. i would never release my film on a day when another filmmaker has already announced their film. i decided to remove krrish 4 also from christmas 2018 because i saw srk' s film is coming that day. i could have easily released my film with befikre or even with dangal if i had to clash. but when i announced the film in february, i saw a clean window in january and hence i picked the date. i can' t get into this new groove of things because i don' t understand it .
we have three reviews for the film that started with my positive one out of the tiff 2011 world premiere. david harley also liked the film, when it screened at the 2011 fantastic fest, where brad hargue didn’t agree. i would have loved to see an english - language interpretation of the film – especially since mccarthy was looking at it from a vampire angle. a u. s. remake could have been radically different, and the fact that nobody knows what the hell livide is, couldn’t hurt…
maury: our relationship is the same as it was 4 years ago on inside. we try to work together and share all of the aspects of making a film .
for some reason, nearly seven months later, an email carnahan sent to mgm ceo jonathan glickman in april has started making the rounds, and thr has decided to it from their inbox and put it online. and it’s pretty livid, profanity laced stuff — excerpts below :
over the last few weeks, photos from set have steadily been surfacing - but this snap is the first professional image of the entire cast to come from the upcoming film .
so i haven’t really watched too many international horror films before, and i can see how it may put people off more than other subtitled film genres may do. a horror film is designed to frighten you, to allow you to be so absorbed into a story that you can’t help to start getting anxious, this is why horror films such as the innkeepers, paranormal activity, and other such horror films. they invite you in and start off slowly, allowing you to relax into the film before starting with the scares .
the film is actually the story of co - directors throwell and josephine decker and their relationship over the span of five years. it is a combination of reality and scripted entertainment .
chris hemsworth kicks off filming for the star - studded men in black spin - off as he cuts a sharp figure in london... 21 years after the first film hit screens
the new york city draft riot scene takes a few liberties with the events that actually transpired. the film exaggerates the extent of the riot and the sort of events that took place .
for a directing team whose first film revealed the torture - porn genre to be alive and well in france, it’s comforting to see a different sort of horror trope used this time around – one whose roots lie less with eli roth or rob zombie than with the likes of dario argento and guillermo del toro. that said, and despite some moments of chilling beauty, livid is a somewhat benign enterprise, and never builds enough momentum to keep viewers interested, let alone terrified .
the film begins to develop more from there, as we learn that jessel isn’t in as much of a coma as first thought, and that her long thought to be dead deaf daughter, is actually a vampire, who was raised by the strict jessel, a former dance instructor. i won’t go into much more because it’s well worth going to see the film yourself .
guy is on tonight' s show with charlie hunnam - who stars as king arthur in his film -, as well as actress billie piper, comedian jason manford and singer imelda may .
livid (livide) manages to subvert this because it is, in part, an art film, as well as a supernatural horror. the scares aren’t so forward and announced, and instead the anxiety of the piece comes at you over the course of the film, whilst developing the story and characters in a way that other horror films may not be able to. in fact, to go off on a slight tangent, in joss whedon’s ‘cabin in the woods’, which could also be called: ‘horror deconstructed: the movie’, we see that the monsters of the piece were chosen from a selection of wide variety of generic horror monsters, and are given only a few lines of backstory .
a source added that the stunt dreamed up by the film’s co - director zefrey throwell was an “ill - formed idea on their part that didn’t really work. it just pissed people off. ”
if your looking for everything to make sense in a film like this. . it won’t instead you get a lot of dream / nightmare logic thats very fulci - esque... which is straight…
earlier this month, the teaser of the remake scared fans at the south by south west film festival where the clip made its debut, but hadn' t been made available to watch before now .
ms. ponder said she hoped any attention given the new “martyrs” would work in favor of the old, a film she has been unable to shake — to horror fans, a badge of honor .
per deadline, “ french distributor snd films is moving forward with an english language re - make of ‘livid’, and they’ve set david birke to write the script, and doug davison of quadrant pictures and robert léger to produce it. davison’s genre credits include ‘the strangers’ and the upcoming remake of old boy at mandate pictures. ”
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universal pictures have released the first trailer for the brad pitt and angelina jolie pitt film' by the sea' which is produced by pitt and directed, produced and written by jolie pitt. (reuters )
we’re told that publicists for both the film and the festival were left out of the loop and believed the a - list celebrities would be in attendance, even though they had no connection with the movie .
any discussion of the history of technicolor should probably include john huston’s battles with the company over the look of the original “moulin rouge, ” a battle to recreate in film the subtle hues of impressionism which huston won .
so it’s no surprise that the film’s partisans are wary of a new “martyrs, ” which opened jan. 22. one of the film’s backers is blumhouse, the red - hot production company behind the popular but hardly hard - core horror franchises “paranormal activity” and “insidious. ” as with recent remakes of “halloween” and “the evil dead, ” fans of the original are wringing their hands over an american remake that might water down carnage or sanitize content .
cannes 2007 critics’ week player “inside, ” also produced by la fabrique, proved one of this decade’s most notable genre debuts, selling to the weinstein co. for the u. s. and u. k. and to over 40 countries. some auds found it stomach - churning, however. “livid” looks likely to pull back on the physical violence .
truth in television applied to the historical
bill the butcher
, whose history the film otherwise takes liberties with. (one of his grievances was that tammany was handing out most of the butchers' licenses to irish. )
scenery gorn: new york, the five points especially, circa the american civil war ain' t exactly all that pretty. some would argue that the naval bombing at the end of the film actually improved the property value .
the french - language horror film livide, directed by alexandre bustillo and julien maury (inside, originally a l' interieur), will be remade in an english - language version, according to an unconfirmed report by deadline .
bustillo and maury proved with inside that they are perfectly capable to produce disgusting and tense horror. it is therefore a mystery to me why they chose to produce this clichéd and fractured film without any focus, scope or central idea .
the brilliant minds that brought us the 2007 hit inside have returned to the genre with this movie that mixes argento style giallo with creepy, old house tension. only in the final minutes does the film fall flat and somewhat unintentionally comical .
disney said on monday, that emma watson is joining disney' s live - action version of beauty and the beast as the lead character belle. the film will be directed by bill condon and is set to begin production in 2015 .
time passes montage: one of the most famous things about the film is the very end. miramax had a lot of problems with it in the wake of 9 / 11, causing it to be delayed a whole year, sadly .
livid’s character development works well because you’re supposed to make that connection with the ‘monster’. the ending justifies the means behind why they decided to develop the vampire, more than one of the three protagonists. but i feel as though i’ve spoken enough behind the developments of the characters, but maybe not enough of the characters themselves and the plot in general, so here we go .
my only criticism, which seems to be one shared by a number of reviewers, is that the film did not end well, in such a way that it neglected to really explain the reasoning behind the actions at the end of the film. some of that is down to subtle elements that the more genre savvy viewer may see, whilst casual viewers may miss it entirely. however, some important details were just left unexplained; ruining what may have been a great story .
there are certain conventions expected in horror films. there' s a reason for this as they make the film scary. this film lacks many of these so although it looks great, for much of the running time it has no effective tension or fear. some of the elegant music also acts against creating a tense atmosphere. when the horror hits, these scenes are very effective and gruesome (though i don' t think an 18 was necessary given its fantastical nature) .
there is an aspect around moths… which was nice. they are shown as a vehicle for a vampire’s soul and this fits in very well with some folklore that shows the moth or the butterfly as the vampire’s soul – as was explored in the film
if you like your fast paced fright - fests, then this isn’t the film for you. it runs at a slower pacing, and the horror and gore factors aren’t too strong. however, if you enjoy a more developed story with supernatural horror elements, and don’t mind subtitles, then this is a film that i can recommend. the slower - paced and more developed storyline may alienate more hard - core horror fans, and for those who may enjoy it will still have to face a disappointing ending .
technological problems were at the heart of the difficult adoption of colour by the film industry in the 1930s up to the 1960s. most studios perceived the technique as defaulting and were not prepared to make the change to a process seen as tricky and unsteady. the birth of technicolor in 1915 is remembered as a decisive event in the history of coloured films. founded by herbert kalmus, it introduced film - makers to the two - colour subtractive process, where two negatives capturing red and green lights were placed back to back .
where livid falters is the final act. there are some beautifully horrific and disturbing parts in the final third but an added plot point detours the movie and leads to a finale that comes off as unintentionally comedic and had me laughing. this change in tone and direction really takes the viewer off track and not in the desired way. maybe something is lost in translation; this shift might have a meaning in other cultures or areas of the world. however, as a states - side viewer it took what could have been a solid love letter to several horror sub - genres and threw in a side of fantasy therefore negating what should have been a darker ending that leaves the viewer a bit stunned. as opposed to wanting to re - watch the final act of livid i constantly questioned why the final ten minutes were even included .
there were a few issues with the theme of livid, while the story seems to have taken a turn for the worse in the final few scenes, losing it' s cohesive fluidity, i have to wonder if it was the writer' s intention to have multiple fantastical plots or if there was a disconnect in the poor translation from french to english in the subtitles. the movie was full of literal translations which…
and ashley, specifically, is night and day in this film compared to awkward, both in the role’s physical demands and the creep - out factor it requires. [ laughs. ] you know, ashley is very serious about what she does. she’s the youngest of everyone in the cast, besides ava [ acres ], the little girl. ashley had been in an independent film [ fly away ] that played at sxsw a couple years back, and she plays an autistic character in it. i had seen that film when her name came up for my movie, and i could tell from that performance that she’s really committed, and, sure enough, you’d turn on the camera and ashley would immediately go so hard. it was crazy—she’d be possessed, literally and figuratively .
in the light of these words, we understand that people assumed colour was incompatible with film’s other practices and would therefore radically change the nature of cinema. colour would also have an impact on human sight and health, and disrupt the audience’s vision. screen colour was apprehended in a total different form than human natural vision, and people did not believe that film could expose colour as we see it every day. film director john huston said that ‘colour in nature is very different from colour on screen’ 9 as it appeared too bright and too vivid. it lacked subtlety and definition, and did not provide natural effects, but instead ‘isolated objects with an effect of verisimilitude’ and gave birth to ‘travesties, unreal compositions in which things look either too real to be credible or definitely unreal’ 10 .
' livide' holds its position as a horror film in the middle of full blown gore and a hair - raising back story. directors alexandre bustillo and julien maury have come a long way from their faulty yet effectively repulsive and distressing' inside, 2007' .
genre busting: screenwriter jay cocks described the film as a
western from mars
, it' s a re - imagining of the past as a post - apocalyptic wasteland, with violent urban street gangs in a context with real menace and violence rather than west side story, and a focus and interest on urban segregation that would make sociologists and anthropologists proud. scorsese indeed hoped that the film would launch a new genre to replace the western, believing that stories in this landscape will have increasing resonance in the years to come .
both working in film production, combined with expanding and fine tuning my creative eye, i have gained abilities to produce my own short artistic videos. wishing to further my skills and experience, working in production in an event is always an interest i wish to pursue .
the use of colour techniques rocketed for a while; 51% of all us films were shot in colour, but it dropped again to 21% in the mid - 1950s as the film industry established a commercial entente with television. it sold old films to tv channels, and since it could only be shown in black - and - white, the film industry didn’t bother shooting new coloured - features, believing this contract would last for a long time. but when television itself switched to colour in the mid - 1960s, it could only follow it, and the transition was completed, turning colour into a standard. economic reasons played an essential part in the difficult adaptation to colour film; but the slow demand was nurtured by aesthetical doubts as people did not believe in the potential of screen colour .
what is the point of trying to make heads or tails of anything here or even looking for any sense if it is clear that the directors are only thinking about aesthetics and creating gorgeous set pieces? besides, the film is completely unscary and just a pile of ridiculous clichés .
you had a potential oscar - winning film with maybe the best script in hollywood but because you’re a coward and a dumb c— you now have an untested, second - time director and an arrogant, lazy, aging action star that will run that poor kid into the ground .
epic movie: this was to be scorsese' s epic movie, and chef d' ouevre. executive meddling caused it to be cut down some, and the acting of the romantic leads has led to mixed critical reception. it' s nevertheless every inch an epic film though .
digital still can’t reproduce every color. digital is only a facsimile. just like a fax, it can only reproduce so much. my nephew is in the digital theater projection industry and he tells me that they are still adding colors to the digital process. film was so much better .
remaking a film that reigns as one of the most disturbing ever would challenge any director. the original “martyrs” begins as a home invasion film, as lucie and anna, young women who met as children at an orphanage, seek revenge on the family that imprisoned and tortured one of them 15 years ago. but as their plan takes a merciless turn, anna plummets into a world dominated by a shadowy organization with bloodthirsty ideas about divine suffering. in one bloodcurdling scene anna is immobilized and her back is flayed; the camera lingers on her face as she reacts to the pain .
from mr. disgusting’s (quite positive) review, “ livid is not going to make fans of inside happy. in fact, i expect most of you to despise it with pure venom. but i implore you all to manage your expectations, shift your thinking, and go in with a clear mind. my hope is that you’ll find a place in your heart for this moody art house horror pic, one that’s sure to be trashed across the board. ”
mob war: the dead rabbits (and later resurrected dead rabbits) vs. bill' s nativists are a pretty hard - core, tribal version of this. unusual for representations of this kind of conflict in film, it ends with the authorities barging in and massacring (almost) everybody .
in livid, we see the monster of the piece developed in a way we rarely do in british or american horrors. sometimes this works to the films advantage, such as with the aforementioned paranormal activity series, which throughout the first film kept the secret behind the supernatural creature mostly a secret, only really stating that it’s a demon. this works well for the series because the less we knew of the demon and its reasons behind terrorising katie (the protagonist). as the series goes on, especially in the third instalment, we find out more about the demon and its reasons, and i felt this somewhat ruined the scariness of it, because something that terrorises for no reason is much scarier than something which does have reasons, because it then becomes more relatable .
the rule was the last petal falls and it' s end game. nada. the beast is a beast forever. well, not quite. in the 1991 film the rose is a goner and belle has not yet said she loves the beast, but he begins to change once she utters the words .
this can apply to a number of things in the movie; modern audiences can be shocked and appalled by how new york really was in the 1860' s, looking at modern new york now it' s almost unbelievable. and yet the film, though taking a few creative liberties, is largely accurate .
once the corpse dances all hell breaks loose, though lucie realises that the girl with her eyes pinned shut is not actually a corpse (rather she is undead). in flashback we see that anna (and her mother) are vampires but her mother – pushing her dancing – broke her back and then added in a mechanical device to make her a permanent ballerina. i don’t want to spoil too much here on in as it is a surrealist nightmare that should be experienced but it is also from here that i have seen issues raised about the film on imbd so want to look at these, as it is from here that the film becomes slightly flawed .
livid’s plot is a relatively simple one. after hearing of an old woman’s fortune during her first day working as a home nurse, lucy with her boyfriend; william and his brother; ben, decide to break in and swipe the treasure. the treasure belongs to an old woman who lives in the house, although in a cerebral coma, named jessel. however, shortly after breaking into the house, weird things begin to happen, and the three soon realise they are unable to leave… so far, so clichéd, correct ?
all of this is set against the backdrop of the american civil war and political corruption of the 19th century. the feel of the era is firmly established through small touches, such as bill' s gang mocking a theatre performance of uncle toms cabin, and the rampant racism of civil war america is prevalent throughout the film. bill maintains most of his power through an uneasy alliance with the tammany hall political machine; a critical turning point occurs when amsterdam wins tammany to his side by promising him the irish vote. the film' s climax occurs as the new york draft riots break out and the u. s. government resorts to violence to stop the insurrection .
quite simply is the fast and furious franchise, the best, worst movies ever made? i believe they are. the latest instalment furious 7 is full of unbelievable action, choppy acting and chock full of clichéd dialogue. that' s not to say these films don' t look great, because they do! these unrealistic action pieces are so beautifully shot and executed much to the credit of james wan (the conjuring). another highlight of the film and franchise as a whole is the diverse cast, making it easily accessible to a wide audience. as much as i wanted to enjoy this film, being paul walker' s last film, i cannot give it a glowing recommendation. however, this doesn' t mean you shouldn' t see it, its a great two hours of brainless fun and thrills and the touching montage to paul walker at the end is well worth the admission and possible tears. however, if you' re looking for realism and a solid story this is not your movie. 2 / 5
the film, “ revolves around a young home nursing aide who works in a remote country estate and discovers that her comatose patient may have hidden her fortune somewhere in the house. the nursing aide returns with her friends to search for the loot, and they become trapped in the house with an old woman who may not be as sick as she appeared. “
another technical issue was the lack of compatibility between colour and other cinematic technologies – for instance, deep - focus was out of the question. the variety of camera tricks became limited as directors were more concerned about displaying a convincing colour - film and were not enough experienced to assemble complex camera work with technicolor. technical limitations discouraged directors to fully adopt screen colour. it complicated film - making and restrained their creativity. yet technicolor did open the way to colour films, and the complete transition, as hard as it was technically, did occur. technicolor rose during the 1930s - 40s, and films like disney’s flowers and trees (1932), la cucaracha (1934) or gone with the wind (1939) won academy awards .
bustillo: i think our next movie will be in english because like julien said, it’s so difficult to find money. we searched for 4 years to the find money for livid in france. during this time hollywood sent us maybe 60 or 70 projects with a high budget. for example platinum dunes offered us to direct the new nightmare on elm street. we were at the top of the list when they finished the script. they sent it to us immediately, but we said no because we prefer to have no money and freedom. a low budget is the price of freedom .
the first half of the film is an incredibly effective haunted house movie with a pretty standard set up of a young nurse who' s put in charge of caring for an old lady in a creepy house. it looks great and has mad atmosphere and there' s a couple of references that horror fans will pick up on. cool, i' m with it .
one of the most serious fear about using colour was that it would distract the viewer from important elements within a film, like the narrative or the performance. using colour meant exploiting the set, costumes, make - up and props, therefore granting the spectator with more visual information and giving him the chance to focus on specific details. colour was seen as distracting from the story and unsuited for intense dramas. it was commonly used in light - hearted genres like westerns, musicals or cartoons. black - and - white was favoured for darker dramas and was treated very distinctly from colour. the academy awards for example had two separate categories, one for best black - and - white film and one for best colour - feature. even herbert kalmus said:
livid ( french : livide ) is a 2011 french supernatural horror film written and directed by julien maury and alexandre bustillo . it is their follow-up to the horror film inside . 
livid (french: livide) is a 2011 french supernatural horror film written and directed by julien maury and alexandre bustillo. it is their follow-up to the horror film inside.
livid (french: livide) is a 2011 french supernatural horror film written and directed by julien maury and alexandre bustillo. it is their follow-up to the horror film inside.