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Money Heist CANCELLED: Netflix Confirms Series Will End After Season 5

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Netflix’s Spanish-language original series La Casa De Papel (Money Heist) is officially coming to an end. After debuting on the streamer back in May of 2017, Netflix announced Friday that the beloved original series would be coming to an end after its fifth and final season. The announcement was a bittersweet one, as it also confirmed the Season 5 renewal of the series.

According to Entertainment Weekly, which was the first report news of the series coming to an end, Money Heist will begin production on its final season on Monday in Denmark. Production will also take the series to Spain and Portugal. The production start date comes as a number of Netflix series resume production after being forced to a halt amid the coronavirus pandemic.

The series is centered around “The Professor,” a criminal mastermind, and his plan to pull off the biggest heist in recorded history, requiring him to recruit eight people to him carry out the mission. The eight-episode fourth season, which dropped on Netflix on April 3, saw The Professor’s team declare war on the authorities during their job at the Bank of Spain and ended with the death of one critical member of the team. According to series creator Alex Pina, the series will be “moving from a chess game — a mere intellectual strategy — to a war strategy: attack and contention” as it enters its fifth season, which Pina called “the most epic” one yet.

“Adrenaline is within Money Heist’s DNA. Every thirty seconds things take place and disrupt the characters, a turn of the screw to the action. The adrenaline mixed with feelings arising from absolutely complex, magnetic, unforeseeable characters will continue until the end of the heist to the Bank of Spain,” Pina said. “However, the gang will now be pushed into irreversible situations, into a wild war: it is the most epic part of all the parts we’ve shot.”

Money Heist stars Alvaro Morte, Ursula Corbero, Jamie Lorente, Miguel Herrán, Darko Peric, Itziar Ituno, Paco Tous, Alba Flores, Esther Acebo, Itziar Ituño, Enrique Arce, Kiti Mánver, Juan Fernández, and Mario de la Rosa. Those cast members will be joined by a few new faces in the final season, including Miguel Ángel Silvestre (Sense8, Narcos) and Patrick Criado (Vivir sin permiso, or Unauthorized Living). Their roles have not yet been revealed.

The first four seasons of Money Heist are currently available for streaming on Netflix. Season 5, the final season, does not yet have a premiere date. Stay tuned to PopCulture.com for the latest updates.

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Top 10 Drama Movies To Watch This Week [RATED 16+]

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The beauty of Netflix is that the streaming service has a wealth of genre options at your disposal. If you want to get your action fix on, you are free to do so. If you’re in the mood for a comedy, thriller, or straight-up horror movie, they’ve got those as well. But sometimes it’s hard to beat a genuinely great drama, and boy does Netflix have a wealth of options in this particular genre. To help whittle down your choices, we’ve gone ahead and curated a list of the very best dramas on Netflix right now, which run the gamut from period pieces to relationship dramas to little-seen gems. There are movies from big, well-known filmmakers on this list, and there are also films from up-and-comers that are absolutely worth checking out.

So peruse through our list of the best drama movies on Netflix below, and get to watchin’. But beware; some of these may require a tissue or seven.

Someone Great – (2019 film)

Jenny, a music journalist living in New York City, lands her dream job with Rolling Stone in San Francisco. Her boyfriend of nine years, Nate, breaks up with her, and she spirals into a depression. Her best friends Erin, a real estate agent afraid to admit her feelings to her girlfriend Leah, and Blair, a social media manager who needs to break up with her boyfriend Will, with whom she has lost chemistry, are the only ones who can bring her out of it. Jenny contacts Erin and Blair after learning the concert series known as Neon Classic is putting on a pop-up show at Sony Hall and proposes one last adventure together before she moves, both to celebrate a new chapter in her life and to mend her broken heart.

The Lovebirds – (2020 film)

Jibran and Leilani are a couple who have been together for four years. Their relationship is fraught, and the two argue constantly about a variety of topics. While driving to a dinner party, the two mutually agree to end the relationship. Distracted by the breakup, Jibran runs a red light, hitting a cyclist with their car. The man refuses help and flees the scene. A man with a mustache suddenly commandeers their car, claiming to be a police officer and that the man on the bike is a criminal. He pursues the cyclist, but after catching him runs the cyclist over with their car several times, killing him. Mustache prepares to kill Jibran and Leilani with a gun but flees after hearing police sirens. Jibran and Leilani then flee the scene themselves.

I’m In Love With A Church Girl – (2013 film)

Wealthy drug dealer Miles Montego meets a nice Christian girl, Vanessa Leon, at a mutual friend’s house, and the two hit it off and start a relationship. Miles tells Vanessa that he used to be a drug dealer, but now wants to change his life. At first she is reluctant, but accepts it, assuming that he will start having faith in God. However, unknown to Miles, a few DEA agents are watching him and his friends and plan on taking them down.

Queen And Slim (2019 film)

While some would call it more of a dramatic thriller than a romance, it’s hard to ignore the chemistry between main characters Queen and Slim. They meet for the first time during an awkward first date, but are soon forced to go on the run after they fatally shoot a police officer in self defense. What follows is a complex reflection on Blackness in America, and a heart-pumping tale of runaway lovers.

365 Days (2020 film)

After a meeting between the Torricelli Sicilian Mafia crime family and black market dealers, Massimo Torricelli watches a beautiful woman on a beach. His father, leader of the Sicilian Mafia family, is shot dead.
Five years later, Massimo is now the leader of the Torricelli crime family. In Warsaw, Laura Biel, a fiery executive, is unhappy in her relationship with her boyfriend Martin, who rebuffs her when she tries to initiate sex. Laura celebrates her 29th birthday in Italy but after Martin embarrasses her, she goes for a walk and runs into Massimo, who kidnaps her.

The Photograph (2020 film)

Journalist Michael (Stanfield) follows a lead that introduces him to Mae (Rae), a successful art curator who’s grappling with the recent death of her mother. But as we follow their romance, we’re also introduced to a love story from the past that’s unexpectedly linked to the present.

Elisa & Marcela (2019 film)

Elisa & Marcela (Spanish: Elisa y Marcela) is a 2019 Spanish biographical romantic drama film directed by Isabel Coixet.[1] Starring Natalia de Molina and Greta Fernández, the film tells the story of Elisa Sánchez Loriga and Marcela Gracia Ibeas, two women who passed as a heterosexual couple in order to marry in 1901 at Church of Saint George in A Coruña becoming the first same-sex matrimony recorded in Spain.[2]

Love Jacked – (2018 Film)

The film stars Amber Stevens West as Maya, a young woman on a trip to Africa. While there she enters a whirlwind romance with Mtumbie (Demetrius Grosse), but shortly before returning home she breaks off their engagement when she catches him with another woman. To protect herself from the disapproval of her father (Keith David), she enlists Malcolm (Shamier Anderson), a Canadian hustler on the run from his vengeful partner in crime Tyrell (Lyriq Bent), to impersonate Mtumbie.

All the Bright Places (2020 film)

Teenagers Violet Markey and Theodore Finch attend the same high school in Bartlett, Indiana. Violet is reeling from the death of her sister in a car accident while Finch is on probation in danger of not graduating. The two come together and grow closer when they are paired up for a school project in which they are required to report on the wonders of Indiana.

Everything, Everything (2017 film)

Eighteen-year-old Maddy (Amandla Stenberg) is being treated for SCID, an immune disorder that prevents her from leaving her home and interacting with others. Her mother, Pauline Whittier, takes care of her with the help of her nurse Carla, who has taken care of Madeline for 15 years. Pauline does not allow Maddy to leave her house or interact with anything that has not been “sanitized”. Pauline monitors her daughter’s health status constantly and provides daily medication. Only Pauline, Carla and Carla’s daughter, Rosa, are allowed in the home. Pauline does not let Maddy leave their home or interact with anyone outside. Maddy yearns to see the world, particularly the ocean.

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Black Romance Films Are Having A Moment

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It began with a kiss. Just one decade after the birth of cinema, vaudeville actors and dancers Gertie Brown and Saint Suttle gleefully embraced one another on film. They held hands and locked lips, giving the world its very first image of Black romance and intimacy on-screen. 1898’s Something Good-Negro Kiss proved that love and affection was at the center of Black life. More than that, intimacy has always been essential to the survival of our people. Now, some 120 plus years later— cinema has finally reached the point where it has expanded to allow complex images of Black love, across time periods, between same-sex couples, and more recently, without being bogged down in trauma and pain.

Before Good-Negro Kiss was discovered in 2018, one of the earliest versions of Black romance in cinema was 1954’s Carmen Jones starring Harry Belafonte and Dorothy Dandridge. Filmed in sweeping cinemascope, Carmen Jones follows a soldier named Joe (Belafonte) who gets so enamored with Carmen (Dandridge) that he becomes obsessive, even going AWOL to be with her. Though the film is sexy, and the tension between the actors is palpable — the romance in Carmen Jones is stilted to make white audiences comfortable. Hollywood was only willing to see Black intimacy through the lens of a renowned musical, wrapped in what ultimately becomes a tragedy. By the end of the film, Joe murders Carmen out of obsession and jealousy. Despite Belafonte and Dandridge’s determination to showcase their sensuality, the material only allowed them to go so far. This sort of restraint would become the blueprint for generations of Black romance films.

Considering the utter chaos of the 1960s, it’s a wonder that 1964’s Nothing But A Man was ever made. A decade after Carmen Jones, Hollywood felt it was time to roll the dice on something different. Starring Ivan Dixon and Abbey Lincoln as Duff Anderson, a railroad worker, and Josie Dawson, a Birmingham school teacher, respectively, Nothing But A Man isn’t packaged for white audiences like the musicals of the previous decades. However, the burdens and pains of the couple’s relationship, namely Duff’s flakiness about commitment and the rage he feels as a Black man living in the South, fall on Josie’s shoulders. Moving into the 1970s with films like Claudine and Mahogany, and certainly, in the 1990s and early 2000s, Black romance on-screen would either be shrouded in comedic relief, or the relationships became the sole burden of the Black woman to bear. Often, both tropes were present.

Still, Black romance stories were always evolving. The 1980s sparked something new for Black sensuality in the movies. Though these were still heteronormative depictions, (aside from 1984’s The Color Purple), films made significant steps forward in terms of diverse images of Black people. However, they still held on to sexist ideals. 1986’s She’s Gotta Have It used a Black woman’s rape as a form of character development while 1988’s Coming to America — billed as a comedy, rewarded its protagonist for lying to his love interest. This would become the formula for the many Black romance movies that came to fruition in the 1990s. Cheating, lies, abandonment, lack of accountability, and trauma are all very present in some of our most beloved films. Poetic Justice, Love Jones, Jason’s Lyric, The Best Man, and Love & Basketball, all have some form of struggle love embedded within the narrative — typically leaving Black women wielding the shorter end of the stick.

Poetic Justice is riddled in misogyny, The Best Man has a serial cheater as a leading man, and in Love Jones, the lack of communication and accountability from both partners is dizzying. Moreover, women are often asked to overlook cheating, lying, manipulation, or being friend-zoned to present themselves as worthy of their male partner by the film’s conclusion. Yet, in our quest to connect and see brown bodies sensually and romantically in cinema, we hold these films close to our hearts, overlooking many of the toxic traits of the characters.

Despite the mega success of Black films in the 1990s— following the debut of Gina Prince-Bythewood’s Love & Basketball in 2000, Black stories in cinema, aside from a few here and there, were all but erased in Hollywood. Throughout this near decade-long drought, prolific director Tyler Perry was one of the only voices in the game. However, the quality of Perry’s storylines, as well as the portrayal of his female characters, have proven to be problematic. These characters are often emotionally broken, angry, and at times unhinged. If and when they do find love in movies like 2005’s Diary of An Angry Black Woman, 2008’s The Family That Preys and 2009’s I Can Do Bad All By Myself, it’s after they suffer some dire consequence or horrific punishment. This was particularly jarring during a time when there were hardly any other mainstream film images of Black people on-screen.

Thankfully, as we pressed forward into the second decade of the 21st century, Black filmmakers, writers, and producers were knocking down doors in Hollywood once again. In 2012, Ava DuVernay stepped onto the scene with her stellar film, Middle of Nowhere. The film follows Ruby (Emayatzy Corinealdi) grappling with the choice to leave her incarcerated husband, Derek (Omari Hardwick), to follow her dreams and possibly find new love with a bus driver named Brian (David Oyelowo). Though this was a significant shift in the way Black intimacy, sensuality, and romance was depicted in movies, the real transformation happened in 2016, with Barry Jenkins’ Academy Award-winning, Moonlight.

Loosely based on screenwriter Tarell Alvin McCraney’s real life, Moonlight puts the Black male coming-of-age story center stage. However, instead of honing in on the violence and despair of the inner city, like the hood homeboy films of the 1990s — Moonlight focuses on Black love between Black men. First, there is the relationship protagonist Chiron (Alex R. Hibbert) has with his father-figure, Juan (Mahershala Ali). Later, Chiron explores his queer identity with his classmate Kevin (Jharrel Jerome). The film is a sumptuous duality of hypermasculinity against lush sensuality. With this film, Jenkins effectively shattered our expectations regarding Black intimacy on-screen, while unraveling why Black love in all of its varied prisms deserves a spotlight in cinema.

Moonlight would pave the way for 2019’s Queen & Slim and 2020’s The Photograph. Two vastly different films, one— a harrowing dramatic thriller, centering Queen (Joe Turner-Smith ) and Slim (Daniel Kaluuya) who are forced together by circumstance. A dull Tinder date paves the way for a standoff with a racist police officer who eventually lays dead, prompting our leads to run for their lives.

Penned by Lena Waithe and directed by Melina Matsoukas — the film is almost an antithesis of what we’ve seen before when it comes to Black romance in the movies. Instead of the tried and true formula of a meet-cute, conflict, and resolution, Queen & Slim unites a Black man and a Black woman through Black radicalism. They come to lean on one another, inadvertently building a foundation when there is no one else either of them can trust or turn to. The weight of their relationship rests equally on both of their shoulders, as they become each other’s ride or die.

In contrast to Queen & Slim, writer/director Stella Meghie’s The Photograph, is a much-deserved presentation of soft Black romance, without the trauma or brutality. The film follows Mae (Issa Rae), an art curator grappling with the death of her estranged mother, and Michael (Lakeith Stanfield) — a journalist who crosses paths with Mae’s late mother’s work. The film follows the typical romance formula, but the conflict and resolution aren’t gut-wrenching or emotionally tumultuous. Mae and Micheal deal with real-life issues without being battered or broken. Both parties —like the lead characters in Queen & Slim, share the weight of their missteps and miscommunication. The Photograph is a recognition of straight-forward Black sensuality and love without the heaviness of Black pain. Despite all of this, the film has garnered mixed reviews. Since there isn’t any toxicity between the main characters or much comedy in The Photograph, it appears foreign to us. As a community, we’ve been conditioned to only recognize Black Love shrouded in chaos. Presently, Black women in particular, are asking Black people to look beyond archaic examples of love that are rooted in sexism, misogynoir, and rigid gender roles. Instead, Meghie presents two grown people who must hold themselves and each other accountable to have a chance at a loving and modern relationship.

Black women are also getting the opportunity to be seen as romantic leading women, in the broader scope of cinema alongside leading men from different cultures. Following the footsteps of the 2006 film Something New, where Sanaa Lathan’s leading man was Australian actor Simon Baker, Issa Rae will become a leading lady once more in Netflix’s The Lovebirds. The Insecure actress stars as Leilani, opposite Pakistani-American actor Kumail Nanjiani. Rae is a woman who is grappling with her strained relationship with her boyfriend, Jibran (Nanjiani). The couple’s commitment to one another is hilariously put to the test when they suddenly find themselves in the middle of a chaotic murder mystery.

Black film, and undoubtedly Black romance film, has come a long way since that very first kiss was captured on-screen in 1898. With more women filmmakers at the helm, diverse projects, and the current wave of Black cinema in Hollywood, Black romance movies have the opportunity to give the next generations more nuanced depictions of connection, sensuality, sex, and intimacy. With films like Queen & Slim, Moonlight, The Photograph, and The Lovebirds — we have witnessed Black people from all walks of life and sexualities dive into romantic relationships with love, accountability, and self-awareness, which are truly the ultimate relationship goals.

– Aramide Tinubu/www.vibe.com

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Yvonne Nelson’s Love Tale Movie, “Sin City” Coming To Netflix – 5th August

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Coming from the stables of YN Productions, Ghanaian Actor and Producer, Yvonne Nelson’s 2019 love tale movie, ‘Sin City” will be available for filmlovers to watch on American movie streaming Giant, Netflix from the 5th Of August, 2020.

This will be the second movie from Yvonne Nelson hitting the big streaming platform after “Fix Us” made it debut on 2nd August, 2020. The movie tackles some of the difficulties in marriage and relationships, covering the mysteries of love, mortality, loyalty, and human vows.

Sin City tells the story of Philip (Kunle Remi ) and Julia (Yvonne Nelson), a couple high up on the ladder of success and living their dream. Their marriage seems perfect except they can’t seem to get to spend time with each other owing to Philips’ frequent trips.

Directed by Pascal Amanfo, it stars the 2018 Ghana Movie Awards Beast Actress In Lead Role award winner; Yvonne Nelson, Adjetey Anang, Kweku Elliot, Kunle Remi, Regina Van Helvert, Gabriel Narh Addo, Rosaline Meurer, Michelle McKinney Hammond and Oscar Provencal among others.

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The Three Creative Ghanaian Filmmakers, And Other Africans Who Directed Beyoncé’s “Black Is King” Visual Album

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Beyoncé’s visual albums have proven that, in addition to her many other talents, she’s an extraordinary curator. The list of directors credited on her new movie Black Is King, which arrives on Disney Plus on Friday, represents a dazzling roster of visual artists and filmmakers, Guggenheim fellows and veteran documentarians.

In traditional Beyoncé fashion, there’s no information available in advance about which parts of Black Is King have been directed by whom, besides the fact that Knowles-Carter herself is credited as the film’s overarching director, writer, and executive producer, and if Black Is King is anything like Lemonade, we may never really know. As Indiewire critic David Ehrlich wrote when defending Beyoncé’s choice not to include detailed, song-by-song director credits for Lemonade, “As helpful as that might have been, Lemonade isn’t an anthology, it’s a chorus meant to harmonize with a single voice.” Here, for Black Is King, is a close-up on each of the voices in Beyoncé’s chorus.

Emmanuel Adjei

Adjei is a Ghanian-Dutch filmmaker, schooled in Utrecht, the Netherlands and Ghent, Belgium, whose past credits include videos for Madonna’s “Dark Ballet” and “Batuka,” both taken from her 2019 album Madame X. The latter, which takes its title and musical cues from the Cape Verdean genre batuque, was shot on the coast of Portugal and references the country’s role in the slave trade. Adjei also directed a video for the Iranian-Dutch singer Sevdaliza’s “Shahmaran,” an Afrofuturist parable which begins with Black men lugging what looks like a space-age cruise ship through the desert, and culminates when one of them breaks free, makes his way into an underground room, and finds himself tempted by images of success: a sports car, a gun, a voluptuous woman, an LP. As he explained, “It’s the story of the black man, who continues life in a cycle of oppression. The modern chains on black men today are the aspirations of decadence, power and success that create a false sense of autonomy and freedom. This leaves them victim of addictions to power and materialism, unable to venture outside what is ‘expected’ of their behavior.”

On Instagram, Adjei said that he was “overwhelmed and honored” to have the image of a body floating in space above the earth chosen for Black Is King’s official poster, a good indication he’s responsible that portion of the visual album.

Blitz Bazawule

Ghanaian filmmaker Samuel Bazawule began his career as hip-hop artist Blitz the Ambassador, releasing three albums before turning to filmmaking with The Burial of Kojo, which was included in the 2019 Whitney Biennial and, after being distributed by Ava DuVernay’s company Array, became the first movie from Ghana to be added to Netflix, where it’s still available to stream. Although it’s explicitly inspired by traditional African storytelling—Bazawule said it was the kind of movie he could imagine his grandmother making if she’d had access to a camera—there’s also a dose of the remix aesthetic and Afro-surrealism of his sometime collaborator Terence Nance, the man behind HBO’s Random Acts of Flyness.

Jenn Nkiru

A Nigerian-British filmmaker with an MFA from Howard, Nkiru most recently directed the commercial for the New York Times’ 1619 Project featuring Janelle Monáe that aired during the Academy Awards. Her 2019 short “Black to Techno,” about the birth of Detroit techno, was featured in the 2019 Whitney Biennial, and her 2014 short “En Vogue,” a tribute to New York City’s’s ballroom scene, was shot by fellow Howard alums Bradford Young (Selma, Arrival) and Arthur Jafa (Daughters of the Dust, Crooklyn, “Cranes in the Sky”). Her dual-screen installation “Rebirth Is Necessary” features archival footage of Sun Ra and the Black Panther Party and a soundtrack featuring Pharoah Sanders and Chance the Rapper.

The second-unit director on Beyoncé and Jay-Z’s “Apeshit,” Nikru also directed videos for Kamasi Washington’s “Hub-Tones” and Neneh Cherry’s “Kong.”

Ibra Ake

The son of Nigerian political scientist Claude Ake, Ibra Ake is the creative director for Childish Gambino and won a Grammy for producing the video for “This Is America.” He also works as a staff writer on Donald Glover’s Atlanta and shares story credit on Guava Island. Most recently, he directed the socially distanced video for Nigerian singer Tiwa Savage’s “Dangerous Love.” His 2017 short “Know the Ledge” features a young Black couple spending a day on the streets of Los Angeles, scored with songs by Josephine Baker and Louis Armstrong.

Dikayl Rimmasch

Mentored by the documentary giant Les Blank, the New York-based Rimmasch first attracted the Carters’ notice through his work with Ralph Lauren, after which he ended up directing the Breathless-inspired “Bang Bang” video for their “On the Run” tour. True to his documentary background, Rimmasch said he “tried not to think of them as a power couple—just as humans, with skin and eyes. With inner complexity and compromises.”

But while Rimmasch’s work often has a grounding in vérité aesthetics, the “Sorry” and “Six Inch” segments of the Lemonade visual album (according to his website, he directed both) show it can also be lush and impressionistic, not to mention sensual. Here’s his attention-grabbing Super Bowl ad for Beyoncé’s Formation tour.

Jake Nava

The British-born Nava has been working with Beyoncé since 2003, when he directed the video for “Crazy in Love,” and their long collaboration also includes the iconic video for “Single Ladies” and three songs from the Beyoncé’s self-titled video album. We know Nava directed last year’s video for “Spirit” and “Bigger,” taken from Beyoncé’s The Lion King: The Gift companion album, so it’s safe to say that’s at least part of his contribution here.

Pierre Debusschere

The Belgian Debusschere has worked with Beyoncé before, as the director of “Mine” and “Ghost,” and has also photographed her for magazine covers. He has a long history in fashion editorial. In 2012, he created a multimedia exhibition called “I Know Simply That the Sky Will Last Longer Than I,” whose soundtrack featured contributions from Kanye West.

Kwasi Fordjour

The Ghanaian-born Fordjour is the creative director at Beyoncé’s Parkwood Entertainment, having entered the company as an intern for her musical director and served as creative director for her historic 2018 Vogue cover shoot. He also has choreography credits on her 2013 videos “Drunk in Love,” “XO,” and “Grown Woman.” He’s never been credited as a director on one of her music videos before, but several of Black Is King’s other directors singled Fordjour out as the person who brought them on board.

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