In 1988, Albert Venzago set out to cross Africa on a Vespa. After miles in the blistering heat, it broke down in a remote village in Benin. There he encountered Mahounon, one of the most influential voodoo priests of West Africa. Abandoning his planned trip, Venzago set out instead on an odyssey through the world of African voodoo, to which he and his camera gained extraordinary access. Venzago followed Mahounon with his camera for nearly ten years, filming secret Voodoo ceremonies and sacrificial rituals. He witnessed Mahounon’s extraordinary search for a successor to lead the cult, and he watched as the anointed eleven-year old boy, Gounon, was schooled in black and white magic, rituals, and the intricate workings of the Fa, or Voodoo oracle. Venzago’s camera evokes the religious ecstasy of these ceremonies as well as their otherworldly atmosphere. His photographs illuminate this mysterious and potent Voodoo culture and religion.
The assassins in Bullet Train are quirky, deadly, and diverse. Yet, they all seem to be some type of caricature. While the movie is fun and action-packed, it’s also packed with stereotypes that don’t make for the best representation.
This is not a film, it’s a drop tower. A drop tower that you don’t get off of for the vast majority of its 106-minute runtime.
Friendships are tested when two girls have a crush on the popular boy at school.
We chat with Penelope Lawson about her short film, The Dinner Party, her experience founding her own production company, and fun cinema.
The re-living of this historic trial through this film is relevant to current politics and disturbingly enjoyable to watch due to the excellent performances from the ensemble cast. If you like a juicy courtroom drama, this film will definitely scratch that itch in a really chilling manner.
The external threat invaded the domestic environment at the most valuable moment: grieving.
