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The sexual politics of Hollywood, once the hottest of hot-button issues, appear also to have cooled a little since Harvey Weinstein was found guilty in February 2020.
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Could it be that people were casual around guns and ammo on this American movie set because people are casual around guns and ammo in the US generally, where the western film genre has incidentally done much to promote and romanticise gunplay?
MY PASSPORT BLINKING WHITE LIGHT TV
Baldwin has since given an emotional TV interview on the subject to George Stephanopoulos, in which his tears, though perfectly genuine, coexisted with an obvious desire to control the narrative, pre-empt legal jeopardy and finesse the question of his own indirect responsibility as producer.Īnd what is still staggering, despite all the discussion, is the still unanswered question – how on earth did a live round get into the prop gun? Yet the question naively overlooks the bigger picture. Like going to pubs, or nightclubs, or sports arenas, cinema-going turned out to be a real-world collective thrill that we were longing for.īut it was in this real world that the movies also gave us one of the year’s most shocking and scandalous stories: the accidental fatal shooting of cinematographer Halyna Hutchins on the set of the western movie Rust, by its star and producer Alec Baldwin. Of course, streaming services did well – but so did the movie theatres. The cinema defied the premature obituaries this year. Will the omicron variant bring the shutters back down? We have to hope that it won’t. True to form, Scott dismissed the Gucci family’s complaints on this subject with magnificent hauteur. Well, if anyone has earned the right to be grumpy about young people, it’s Scott, and his other film, the outrageously silly and enjoyable true-crime black comedy House of Gucci starring Lady Gaga, was a big hit. And then, when his period drama The Last Duel performed unconvincingly at the box office, he criticised millennians and their phone habits. (And renowned arthouse director Chloé Zhao scored a miss with her solemn Marvel movie Eternals.) The increasingly remarkable Ridley Scott – who had two colossal feature films released this year – sounded off defiantly against the heroes in tights and capes. The practice of established directors attacking superhero films, and getting attacked for attacking superhero films, continues. The fact is that Netflix really is supporting major films by major film-makers, including what many believe to be the best of the year: The Power of the Dog, by Jane Campion. But maybe 2021 was the time to put this argument to bed.
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Cannes artistic director Thierry Frémaux, who has decided against scheduling any films that did not have a big-screen cinema release, pointedly asked his audience at the opening press conference if Netflix has ever nurtured any directors from the beginning of their career.Īnswer came there none – although Twitter was lively on the subject afterwards. And some old debates and quarrels have been revived. International film festivals were once again happening in reality. T his was the year that the cinema emerged, blinking, from its enforced hibernation, and the new James Bond film, which was beginning to feel like some sort of commercial or cultural myth, actually came out to tumultuous box office business.