Evolution film – Evolution International http://evolutioninternational.net/ Sun, 17 Oct 2021 10:30:23 +0000 en-US hourly 1 https://wordpress.org/?v=5.8 https://evolutioninternational.net/wp-content/uploads/2021/11/icon-120x120.jpg Evolution film – Evolution International http://evolutioninternational.net/ 32 32 Final Eureka Seven: Hi – Evolution of cinema screens in western cinemas in 2022 – News https://evolutioninternational.net/final-eureka-seven-hi-evolution-of-cinema-screens-in-western-cinemas-in-2022-news/ https://evolutioninternational.net/final-eureka-seven-hi-evolution-of-cinema-screens-in-western-cinemas-in-2022-news/#respond Thu, 07 Oct 2021 22:00:00 +0000 https://evolutioninternational.net/final-eureka-seven-hi-evolution-of-cinema-screens-in-western-cinemas-in-2022-news/ Funimation announced Thursday during his New York Comic Con panel that he will screen Eureka: Eureka Seven: Hi – Evolution, the third and last film of the Eureka Seven: Hi – Evolution (Kōkyōshihen Eureka Seven Hi-Evolution) trilogy, in theaters in the United States, Canada, Australia and New Zealand in 2022. Funimation also revealed that he […]]]>

Funimation announced Thursday during his New York Comic Con panel that he will screen Eureka: Eureka Seven: Hi – Evolution, the third and last film of the Eureka Seven: Hi – Evolution (Kōkyōshihen Eureka Seven Hi-Evolution) trilogy, in theaters in the United States, Canada, Australia and New Zealand in 2022.

Funimation also revealed that he will screen it and JC Staffthe original co-production of the animated film by Sing some harmony (Ai no Utagoe o Kikasete) in theaters in the US, Canada, UK, Ireland, Australia and New Zealand in January 2022.

Eureka: Eureka Seven: Hi – Evolution will open in Japan on November 26.

The film was originally scheduled to open in 2019, but was postponed to early summer 2021 and then postponed again to November 26 due to the novel coronavirus disease pandemic (COVID-19) and its influence on the timing of production.

The story of the third film takes place 10 years after the end of the previous film’s “Great Unification”, which brought people from the virtual world inside the Scub Coral to the real world. The population of the world is now divided into Green Earth, the people of the Scub Coral world; and the Blue Earth, the people of the real world. Their coexistence is far from peaceful, with many conflicts behind the scenes. Dewey Novak, the military leader of the Green Earth, decides to carry out terrorist attacks to protect himself.

Eureka, hated by the world as a symbol and origin of world division, now works as a leading military agent in the UN’s covert operations agency ACID, still struggling to protect a fragile peace as a form of atonement. Her special mission is to protect Iris, a “new Eureka”, born from Scub Coral like herself, and using her old ability to manipulate her. Although confrontational at first, they come to understand each other’s loneliness. Eureka will have to go above and beyond to ensure the safety of Iris and the world.

Dai Sato no longer writes the film, with the director Tomoki kyoda and Eureka Seven scriptwriter Yuuichi nomura is now collaborating on the script for the film.

Some of the new cast members for the film’s voice characters EUREKA SEPT AO anime or other Eureka Seven media, while most of the rest are entirely new characters.

The Hentai Shinshi Club musical unit and singer-songwriter kojikoji will perform the theme song “Eureka (feat. Kojikoji)” for the film.

The second film, Anemone: Kōkyōshihen Eureka Seven Hi-Evolution (Anemone: Eureka Seven: Hi – Evolution), opened in Japan in November 2018, and it placed 9th in its opening weekend.

The first film opened in September 2017, after making its world debut at Otakon in August 2017. In its first two days, the film grossed around 63 million yen (around US $ 561,137). Funimation screened the film in theaters in the United States in February 2018, with screenings in Japanese with English subtitles, and with a dubbing.

Source: Email correspondence


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“Pieces of a Woman” Filmmakers Offer Powerful Meditation on TraumaTheWrap https://evolutioninternational.net/pieces-of-a-woman-filmmakers-offer-powerful-meditation-on-traumathewrap/ https://evolutioninternational.net/pieces-of-a-woman-filmmakers-offer-powerful-meditation-on-traumathewrap/#respond Sun, 11 Jul 2021 20:12:29 +0000 https://evolutioninternational.net/pieces-of-a-woman-filmmakers-offer-powerful-meditation-on-traumathewrap/ During its final week, the Cannes Film Festival will screen a few films that can be called anthologies of one kind or another: “The French Dispatch” by Wes Anderson (five discrete stories under one concept) on Monday, the anthology “The Year of the Everlasting Storm” (seven different directors discuss life during the pandemic) on Wednesday […]]]>

During its final week, the Cannes Film Festival will screen a few films that can be called anthologies of one kind or another: “The French Dispatch” by Wes Anderson (five discrete stories under one concept) on Monday, the anthology “The Year of the Everlasting Storm” (seven different directors discuss life during the pandemic) on Wednesday and, to kick off the mini-trend, “Evolution” by Kornél Mundruczó on Sunday.

“Evolution” is, in some ways, the most unified of the trio; it tells three stories from three generations of the same family, using similar techniques for different purposes to explore the complicated history of Jews in and around Germany from the end of WWII to the present day. Shot in just 13 days during the pandemic and assembled largely from long, uninterrupted shots, it feels like a little experimental film, but it’s also a meditation on trauma that cuts deeply emotionally.

“Evolution” is also the fourth film collaboration in the past seven years for Hungarian director Mundruczó and his wife, screenwriter Kata Wéber. Their films are radically different: 2014’s “White God” was a brilliantly dark fable about dogs invading a city, 2017’s “Jupiter’s Moon” was a fuzzy supernatural drama, and last year’s “Pieces of a Woman” their. first film in English, a heartbreaking Oscar nominated tour de force for actresses Vanessa Kirby and Ellen Burstyn.

Their new collaboration is Mundruczó’s eighth film at Cannes if you count the short films. It was screened on Sunday in the Cannes Premiere section, a new space designed to showcase films by festival veterans whose work could normally be placed in the main Competition section. Many of the films in the section look like side projects for their directors, with Andrea Arnold and Oliver Stone portrayed in documentaries, and the same could be said of “Evolution,” although it is also a haunting exploration. and stimulating identity and loss.

The three sections of the film are named after characters, the first, “Eva”, being the most gritty and the most immersive. It starts with three men walking into a dark room with cleaning supplies; shot in a square format and taking place in what appears to be a single shot, the men splash bleach on walls and floors, scrub dirty surfaces, and start pulling long tufts of hair from crevices and floors. drains. Often the camera is not pointing at the workers; it has its own mind, and men come in and out of the frame.

It is never exactly specified, but the men clean the rooms of a concentration camp where the Jews were exterminated. This section has the claustrophobic nature of “Son of Saul” and the terror and doom of a horror movie, although you can’t reduce these circumstances to a genre tag. The footage becomes more and more surreal and terrifying – there are clearly spots you can’t clean up – until a baby’s cry breaks the oppressive silence.

Pulling a child out of the sewer after this grueling streak conjures up unmistakable echoes of the opening childbirth scene in “Pieces of a Woman”, but in “Evolution” that “birth” is stranger and more disturbing. What we see may give some hope in the midst of the horror, but it’s impossible to treat it as anything other than a hopeless illusion.

Cannes films already sold Bergman Island Flag Day Lamb

With a fade to black, the film moves to a brightly lit apartment in Germany for “Lena”, its second section. Set decades after the war, it is the story of a woman (Annamaria Lang) who visits her aging mother to apply for her grandmother’s passport. In order to enroll her children in a Jewish school and secure the reparations Germany pays to Holocaust survivors and their families, it seems, Lena must prove that she is Jewish.

The problem is, the paper trail is deliberately misleading: Lena’s grandmother had five different passports, all fake and most designed to show that she was not Jewish. (This is a real-life detail: Weber’s mother did have many fake passports designed to hide her Jewish identity.) “We were Jews when we couldn’t be,” Lena moans. “And now that we can be, we are not Jews.”

But his problem isn’t just the paperwork; it is also his obstinate mother, conditioned never to give anything to the authorities and never to appear to profit from the drama. The role is played by veteran stage actress Lili Monori, and it’s a tour de force – over half an hour in an unbroken take that’s dominated by her scorching monologue, pouring out decades of anger, pain. and confusion that began, she says, when she was born in Auschwitz to a mother who had managed to hide her pregnancy.

During all this, the camera walks through the apartment, goes out the window, comes in, turns around his head, fixes on his face and makes small adjustments; it’s hectic, but Eva – yes, the same Eva we saw in the opening section – is relentless, until that section too gets more surreal and horrific.

Three floors

The third section, “Jonah”, is the longest and the one that takes place today. The main character is a high school student from Berlin, whose classes are canceled for the day because a lantern he brought for a class project started a fire. He’s also struggling with his place: his mother is Jewish, of course, but he doesn’t really know who or what he is. “You brought me here! He yells at his mother. “You tell me who I am!”

There are hints of anti-Semitism, an attempt at love with a Turkish girl, and an attempt to find some kind of grace note at the end. In a film that keeps coming back to images of water, it is only in the final scene that water seems to have any healing power. But “Evolution” is less about healing than haunting; it is a strange, small and moving work that asks disturbing questions about identity after decades of trauma.

Check out the Cannes digital magazine issue of TheWrap here. You can find all of TheWrap’s Cannes coverage here.

Cover of TheWrap Cannes issue


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Review of the film “Evolution” – The Hollywood Reporter https://evolutioninternational.net/review-of-the-film-evolution-the-hollywood-reporter/ https://evolutioninternational.net/review-of-the-film-evolution-the-hollywood-reporter/#respond Sun, 11 Jul 2021 07:00:00 +0000 https://evolutioninternational.net/review-of-the-film-evolution-the-hollywood-reporter/ A multigenerational family saga on the lingering psychological wounds of the Holocaust in contemporary Europe, Evolution is another project of personal passion for director Kornel Mundruczo and screenwriter Kata Weber, the married team behind last year’s Oscar-nominated Netflix drama Pieces of a woman. After previous visits to Cannes with White god (2014) and Jupiter’s Moon […]]]>

A multigenerational family saga on the lingering psychological wounds of the Holocaust in contemporary Europe, Evolution is another project of personal passion for director Kornel Mundruczo and screenwriter Kata Weber, the married team behind last year’s Oscar-nominated Netflix drama Pieces of a woman. After previous visits to Cannes with White god (2014) and Jupiter’s Moon (2017), the duo unveils their latest collaboration in the newly inaugurated “Cannes Premieres” section of the sumptuous French festival.

With its rambling structure in three acts and its dialogues subtitled in several languages, Evolution is a more experimental, less commercial perspective than Pieces of a woman. But it’s shot in style and emotionally engaging, full of bold cameras and solid performances. Considering its potentially dark subject matter, it’s also surprisingly warm and fun in places. Festival programmers and arthouse connoisseurs will find plenty to savor here, while adventurous distributors and streaming platforms could take advantage of the interest based on the writer-director duo’s award-winning track record. The co-producers The Match Factory also ensure sales in Cannes.

Evolution

The bottom line

Disarticulated but dazzling.

Place: Cannes Film Festival (Cannes Premieres)
To throw: Lili Monori, Annamaria Lang, Goya Rego, Padme Hamdemir, Jule Bowe
Director: Kornel Mundruczo
Scriptwriter: Kata Weber

97 minutes

Like with Pieces of a woman, Weber’s scenario for Evolution is rooted in his own personal history. Both films began as theatrical productions, although the 2018 stage plan for this time-leaping triptych was a more unorthodox hybrid of stylized chamber drama, musical performance, and art installation. Shot between COVID-19 lockdowns over just 13 days in April and May, the extended screen version of Evolution retains that slightly experimental feel, but adds more conventional filmic elements, blurring the line between magical realism and narrative naturalism.

A largely wordless opening chapter plunges viewers into a damp and hellish underground bunker. A grim-faced team of workers enter and begin to ferociously scrub the walls, as if desperately trying to erase the evidence of a terrible crime. Their task becomes increasingly threatening as they discover huge deposits of human hair encrusted in the crumbling walls, some woven into long, knotted ropes. Enhancing the horror film’s nightmarish vibe, a crying child can be heard somewhere in the dark.

It is about a little girl, Eva (Roza Kertesz), who is ripped from the collapsing pipes of the building and carried up into the air in the snowy daylight. So far, the setting of Evolution had a deliberately vague, surreal, allegorical feel. Above ground, the context becomes clearer. We are in the Nazi Auschwitz extermination camps, newly liberated by Red Army troops in January 1945, and a little Jewish girl miraculously survived. This scenario may sound like a fanciful fairy tale but, surprisingly, a small handful of children born in the death camps survived.

Jumping into today’s Budapest, the middle part of the film catches up with this little girl in the twilight of her life. Eva (veteran Hungarian screen icon Lili Monori) is now a mentally fragile grandmother living in a broken apartment, her memory clouded by dementia. A visit from his middle-aged daughter, Lena (Annamaria Lang) becomes a heated argument over the family’s complex Jewish heritage and the semi-dozing anti-Semitism that still haunts much of central and eastern Europe. “I don’t want to be a survivor, I just want to be alive,” Lena complains bitterly.

Drawing on the experiences of his own Hungarian Jewish mother, Weber’s script here alludes to Hungary’s controversial recent history of blocking compensation and restitution payments to Holocaust survivors for minor technical reasons. But she and Mundruczo also superimpose this specific trauma on a more universal set of tensions, including the worsening of Eva’s dementia and Lena’s recent acrimonious divorce. This feverish two-handed man reaches a sort of emotional crescendo with a boldly graphic portrayal of Eva’s bodily decline and a beautifully staged domestic disaster that works both literally and metaphorically. Parallels with Anthony Hopkins in The father are hard to avoid here, not only in Monori’s powerful performance but also in the hallucinatory visual effects.

It is in Berlin that the final chapter of the film takes place, which revolves around Lena’s teenage son, who loves zombies and plays the piano, Jonas (Goya Rego). An outsider at school, he is the target of bullies and teachers are leery of him, who casually attribute his classroom problems to “imported conflicts into the Middle East” and other anti-Semitic tropes. Unsurprisingly, Jonas has come to view his Judeo-Hungarian ancestry as a burden more than a blessing, downplaying his legacy as he develops a tender crush on another misfit college student, Turkish punk rebel tomboy Yasmine (Padme Hamdemir ).

Drawing once again on the family history of Weber and Mundruczo, this final section is the most formally conventional of the three, and also the most dramatically weak, with its rambling tempo and mundane love-defeat-hate conclusion. The apparent take-home message that multicultural teenage romance can erase centuries of deadly ethnic conflict is appealing but unconvincing. Even so, this third chapter still features sharp dialogue, dynamic visuals, and engaging, sweet performances from its young protagonists.

Whatever its dramatic blind spots, Evolution is a mostly fruitful collaboration between high caliber talent both on and off screen. It’s also a consistently compelling visual spectacle, thanks in large part to French DP Yorick Le Saux, whose other credits include Jim Jarmusch. Only lovers will stay alive and Greta Gerwig Little woman. Le Saux’s choppy kinetic camera captures the action in intimate close-ups and long shots of bravery, including a see-through 36-minute dance around Eva’s apartment that incorporates a gravity-defying detour in the air to- above the streets of Budapest. At several levels, Evolution is a dazzling high-flying act.


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Final Eureka Seven: Hi – New Evolution Film teaser reveals early summer opening – News https://evolutioninternational.net/final-eureka-seven-hi-new-evolution-film-teaser-reveals-early-summer-opening-news-2/ https://evolutioninternational.net/final-eureka-seven-hi-new-evolution-film-teaser-reveals-early-summer-opening-news-2/#respond Fri, 22 Jan 2021 08:00:00 +0000 https://evolutioninternational.net/final-eureka-seven-hi-new-evolution-film-teaser-reveals-early-summer-opening-news-2/ Filming has been delayed since 2019 The official website of the Eureka Seven franchise announced on Friday that the third and final film of the Eureka Seven: Hi – Evolution (Kōkyōshihen Eureka Seven Hi-Evolution) The film trilogy will debut in early summer 2021. The website also unveiled the second trailer and a teaser visual for […]]]>

Filming has been delayed since 2019


The official website of the Eureka Seven franchise announced on Friday that the third and final film of the Eureka Seven: Hi – Evolution (Kōkyōshihen Eureka Seven Hi-Evolution) The film trilogy will debut in early summer 2021. The website also unveiled the second trailer and a teaser visual for the final film, titled EUREKA /Kōkyōshihen Eureka Seven Hi-Evolution. Kaori Nazuka, who plays Eureka, recounts the teaser with the film’s tagline: “A Girl’s End. A Girl’s Beginning.”


https://www.youtube.com/watch?v=QOvrFAiBes4

The film had been postponed until 2021. The film was initially due for release in 2019.

General manager Tomoki kyoda revealed in December that the recording of the final film’s dialogue had been completed.

The second film, Anemone: Kōkyōshihen Eureka Seven Hi-Evolution (Anemone: Eureka Seven: Hi – Evolution), opened in Japan in November 2018, and it placed 9th in its opening weekend.

The first film opened in September 2017, after making its world debut at Otakon in August 2017. In its first two days, the film grossed around 63 million yen (around US $ 561,137). Funimation screened the film in theaters in the United States in February 2018, with screenings in Japanese with English subtitles, and with a dubbing.

Sources: Eureka Seven: Hi – Evolution anime website, Comic Natalie



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The String Cheese Incident Announces New Years Eve Movie “Evolution” and Live Broadcast of 2016 Concert https://evolutioninternational.net/the-string-cheese-incident-announces-new-years-eve-movie-evolution-and-live-broadcast-of-2016-concert/ https://evolutioninternational.net/the-string-cheese-incident-announces-new-years-eve-movie-evolution-and-live-broadcast-of-2016-concert/#respond Tue, 15 Dec 2020 08:00:00 +0000 https://evolutioninternational.net/the-string-cheese-incident-announces-new-years-eve-movie-evolution-and-live-broadcast-of-2016-concert/ By Andy Kahn Dec 15 2020 • 12:00 p.m. PST The String Cheese Incident will present a 20th anniversary screening of their New Years concert film, Evolution, and their December 31, 2016 show as part of a special New Years Eve live event. MT. SCI’s “Friday Night Cheese” series on nugs.tv will move a day […]]]>

By Andy Kahn Dec 15 2020 12:00 p.m. PST

The String Cheese Incident will present a 20th anniversary screening of their New Years concert film, Evolution, and their December 31, 2016 show as part of a special New Years Eve live event. MT.

SCI’s “Friday Night Cheese” series on nugs.tv will move a day earlier to fit New Year’s Eve on Thursday, December 31st. Hosted by band percussionist Jason Hann, the “New Year’s Cheese” online programming begins at 8 p.m. with Evolution, which was recorded during The String Cheese Incident’s 2000/2001 New Years Run in Portland, Oregon. Kicking off about two hours later, SCI’s three-set concert will take place on December 31, 2016 at 1STBANKCenter in Broomfield, Colo., Where the band has sounded in the New Year six of their last seven visits to the NYE.

“We love to see our friends and family come together with us at CO to celebrate the New Year, and while we can’t be there with you in person this year, we REALLY look forward to saying goodbye to 2020 and welcome 2021, when we can hopefully start playing Incidents live again! The group said.

The “New Year’s Cheese” livestream from the String Cheese incident will be available via nugs.tv, YouTube and the JamBase livestream schedule.


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The latest evolution movie will hit you right from your childhood https://evolutioninternational.net/the-latest-evolution-movie-will-hit-you-right-from-your-childhood/ https://evolutioninternational.net/the-latest-evolution-movie-will-hit-you-right-from-your-childhood/#respond Wed, 15 Jan 2020 08:00:00 +0000 https://evolutioninternational.net/the-latest-evolution-movie-will-hit-you-right-from-your-childhood/ It all ends up ending, but it’s always special when a story ends on its own terms. This allows creators to make their point as strong as possible. This is what makes the bittersweet tone of Digimon: Latest Kizuna Evolution so heartbreaking. A recently released plot synopsis for the upcoming film suggests it will be […]]]>

It all ends up ending, but it’s always special when a story ends on its own terms. This allows creators to make their point as strong as possible. This is what makes the bittersweet tone of Digimon: Latest Kizuna Evolution so heartbreaking.

A recently released plot synopsis for the upcoming film suggests it will be a final farewell to the characters from Digimon Adventures – and sounds like an emotional punch to anyone who grew up with the original series.

RELATED: Admit It, Digimon Is Better Than Pokemon

THE ORIGINAL DIGIDESTINÉ

The original DigiDestined was the group of reluctant young heroes for the first season of Digimon. Seven tweens – Tai, Matt, Sora, Izzy, Mimi, Joe and TK, as they were called in the English versions – are suddenly taken out of their summer camp and dropped off in the bizarre digital world, a place full of strange creatures, dangerous places and mysterious powers.


There they were linked to a particular Digimon (Agumon for Tai, Gabumon for Matt, Biyomon for Sora, Tentomon for Izzy, Palmon for Mimi, Gomamon for Joe and Patamon for TK), who became their protectors. Learning to work with each other and with their monstrous new friends, the DigiDestined were able, over time, to unlock new powers and forms for their Digimon.

Together, they succeeded in saving the digital world from the doomsday threats of multiple universes. They were even eventually forced to protect the Earth itself from an invading Digimon army led by the evil Myotismon. During these fights, they recruited the eighth DigiDestined, Tai’s younger sister, Kairi, who had missed camp due to illness, and her partner Digimon Gatomon.

The second series focused on DigiDestined’s second group after a multi-year jump, with only TK and Kairi remaining in the main cast. But the original DigiDestined and their digital friends stayed on the sidelines, even witnessing combat on occasion. They returned to a more important role in Digimon Adventures Tri, a revival that brought the DigiDestined together to try to resolve conflicts between Digimon and the rest of humanity. But now it looks like the creators of the franchise are ready to let things end once and for all with Digimon: Latest evolution, and they make sure it hits where it hurts.

RELATED: The Digimon Movie Is Still The Internet’s Best Portrayal In The Movie

THE FINAL ADVENTURE OF TAI & AGUMON

The synopsis suggests that Tai is somewhat out of touch with the rest of DigiDestined. He goes to college, while the rest of their friends continue to help calm human relations and Digimon. But as the chosen children approach adulthood, a timer goes off on their Digivice. When it is exhausted, the bond between the humans and the Digimon partners will be severed. The process is only amplified by using the Digimon in combat, which means that any battles that await DigiDestined come with an added layer of threat. The synopsis even promises that by the end of the film, this will be the “last adventure for Tai and Agumon” – and possibly the other DigiDestined, too.

This means that the series seems to incorporate the ending into its very concept. It’s about growing up and tidying up childish things – what the movie entails includes Digimon himself. This is explicitly billed as Tai and Agumon’s last adventure (along with the rest of DigiDestined), at least for a while.

The promise that the battle will weaken their bond makes matters even worse, given how heroic the group has become. Digestines and their connection to their partners are defined by the strongest emotional aspects. It all fuels their individual heroism – they use their positive traits to literally empower their Digimon to save the day. During most battles, he is a real strength. But here, their heroic nature will make them unable to stay out of battles to protect innocence, which means they’ll likely lose their bonds sooner. Doing the right thing is going to cost them, in a very real sense, one of the things they care about most.

If that wasn’t enough to hit you where it hurts, the story outline also specifically addresses the idea of ​​growing up and having to say goodbye to parts of your childhood. For a whole generation of fans, the digital world was a place of pure imagination, absurdity and adventure. It’s basically the anime equivalent of Toy story 3.

But, in a more positive way, it also gives the franchise a place to really end the story with a meaningful finale, as opposed to something like Ash’s endless stopped state of competition in. Digimonthe direct rival of, Pokemon. It ties that sense of finality fans will experience with the film to the emotions of the characters themselves, giving everyone involved one last moment together.

It might even end with the DigiDestined going on with their lives but their Digimon finding new human partners, symbolizing how their universe and characters can live with new generations of fans.

Digimon: Kizuna Final Evolution will screen in select theaters across the United States on March 25.

KEEP READING: Digimon: All Seasons Ranked, Including X-Evolution

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3rd Eureka Seven: Hi – Evolution teaser video Streaming – News https://evolutioninternational.net/3rd-eureka-seven-hi-evolution-teaser-video-streaming-news/ https://evolutioninternational.net/3rd-eureka-seven-hi-evolution-teaser-video-streaming-news/#respond Mon, 23 Dec 2019 08:00:00 +0000 https://evolutioninternational.net/3rd-eureka-seven-hi-evolution-teaser-video-streaming-news/ Animated film postponed to 2021 The official website of the Eureka Seven the franchise began airing a teaser video for the final film in the Eureka Seven: Hi – Evolution Monday film trilogy. The film has been postponed until 2021. The film was originally scheduled for release this year. The second film, Anemone: Kōkyōshihen Eureka […]]]>

Animated film postponed to 2021


The official website of the Eureka Seven the franchise began airing a teaser video for the final film in the Eureka Seven: Hi – Evolution Monday film trilogy.


The film has been postponed until 2021. The film was originally scheduled for release this year.

The second film, Anemone: Kōkyōshihen Eureka Seven Hi-Evolution (Anemone: Eureka Seven: Hi – Evolution), received a special screening on Monday with a welcome on stage by the chief director Tomoki kyoda, voice actress Eureka Kaori Nazuka, and BONE president / producer Masahiko minami at Tokyo Shinjuku Forest 9 theater.

The first film opened in September 2017, after making its world debut at Otakon in August 2017. In its first two days, the film grossed around 63 million yen (around US $ 561,137). Funimation screened the film in theaters in the United States on February 5 and 7, 2018, with screenings in Japanese with English subtitles, and with a dubbing.

The second film opened in Japan on November 10, 2018, and it placed No. 9 on its opening weekend.

Sources: Eureka Seven: Hi – Evolution official website of the anime, The Mainichi Shimbun’s Mantan Web


Disclosure: Bandai Namco Arts Inc. is a wholly owned subsidiary of Bandai Namco Holdings Inc. Bandai Namco Rights Marketing Inc., another wholly owned subsidiary of Bandai Namco Holdings Inc., is a non-controlling minority shareholder of Anime News Network Inc.



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Movie Review – The Hollywood Reporter https://evolutioninternational.net/movie-review-the-hollywood-reporter/ https://evolutioninternational.net/movie-review-the-hollywood-reporter/#respond Wed, 05 Nov 2014 08:00:00 +0000 https://evolutioninternational.net/movie-review-the-hollywood-reporter/ There are certainly more meritorious efforts than traveling the world in search of the perfect cut of meat, but the French producer-director Franck Ribiere nonetheless delivers a captivating, and often instructive, quest for the world’s largest sirloin in his comprehensive gastronomic documentary, Steak (R) evolution. Filled with enough of the sizzling, mouth-watering chunks of beef […]]]>

There are certainly more meritorious efforts than traveling the world in search of the perfect cut of meat, but the French producer-director Franck Ribiere nonetheless delivers a captivating, and often instructive, quest for the world’s largest sirloin in his comprehensive gastronomic documentary, Steak (R) evolution. Filled with enough of the sizzling, mouth-watering chunks of beef to drool carnivores in their seats and gag herbivores to exits, this shameless investigation of flesh-eaters reveals what it takes – from ranch to butcher’s block to grill – to turn one of the simplest of meals into a true art form, no condiment required.

Yet this captivating and somewhat overly long 130-minute talk also raises questions about mass food production and how man and nature interact on the plate, resulting in a conclusion that might even appeal to people. like Jonathan Safran Foer: Eating animals is no laughing matter, and the best steaks on the planet are often the results of the most humane farming techniques.

The bottom line

Where’s the beef?

It’s an argument Michael pollan done with extreme eloquence in his book The omnivore’s dilemma, to which this film plays out as a friendly and festive footnote. And one that’s filled with enough close-ups of juicy filet – in a food porn brand better described as “filetio” – to propel it beyond Gallic borders into festivals, scattered theaters, and onto VOD networks. intended for farmers and gourmets.

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The “(r) evolution” of the film’s title began when the director, whose family raised Charolais cows in eastern France, traveled to New York and had a revelation when he tried the famous porter at Pierre Luger in Williamsburg. Not only was it better than anything he had ever eaten at home, but the restaurant’s cooking technique (they grill it twice) didn’t explain it all: it had to be the meat.

It makes Ribière travel, accompanied by an excellent Parisian butcher Yves-Marie Le Bourdonnec, to find out who and how they make the best steaks in the world. Ranking a steakhouse in the Top 10 as they travel from the Pampas of Argentina to the land of Angus in Scotland to the legendary Kobe beef ranches in Japan (where, in order to get the perfect marbling, the cows are hand-mixed grain fed, massaged with Saki and caressed by Mozart’s music), the filmmakers feature a group of very committed farmers and chefs who treat their cattle with great care and whose concern for quality rather than quantity ultimately translates into the end product.

As the two Frenchies travel the globe, it becomes a sad reality that their homeland, well known for its long-standing traditions of haute cuisine, is generally behind in terms of producing delicious beef, although it remains a nation of big meat eaters. (When Burger King reopened in Paris last December after a 16-year hiatus, queues wound up around the block.) On the other hand, newer establishments like Fleisher’s Pasture-Raised Meats in Brooklyn or the iWagyu livestock farm in Sweden are leading the way in a real revolution that will likely change the way we eat meat in the future.

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While Steak provides a comprehensive portrait of these various high-end ranches and restaurants, it conspicuously leaves out the slaughterhouse – usually an important part of any documentary that touches on the meat-making process. It’s certainly a bit of an evasion, especially since Ribière and his production company, La Fabrique de Films, are behind some of the bloodiest French films in recent memory, notably Alexandre bustillo and Julien maury‘s extreme ketchup-fest, Inside.

But the missing elephant (or cattle) in the room doesn’t detract from the movie’s underlying message, which – despite a long run that could probably use a more efficient cut, uh, – is still made passionately clear when l team arrives. to their final destination: a place where man and meat seem to live in perfect harmony. This is until one eventually slices the other, sprinkle with salt and cook it over a slow-burning fire. You’ll never look at this sirloin the same way again.

Production companies: La Ferme! Productions, C. Productions
Director: Franck Ribière
Screenwriters: Franck Ribière, Vérane Frediani
Producer: Vérane Frediani
Publisher: Vérane Frediani
Composer: Eric Jeanne
Commercial agent: Jour2Fête

No scoring, 130 minutes


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“Make it yours, this festival is for you” Opening of the Evolution film festival in Mallorca. >> Trans-Iberian >> Blogs EL PAÍS https://evolutioninternational.net/make-it-yours-this-festival-is-for-you-opening-of-the-evolution-film-festival-in-mallorca-trans-iberian-blogs-el-pais/ https://evolutioninternational.net/make-it-yours-this-festival-is-for-you-opening-of-the-evolution-film-festival-in-mallorca-trans-iberian-blogs-el-pais/#respond Mon, 03 Nov 2014 08:00:00 +0000 https://evolutioninternational.net/make-it-yours-this-festival-is-for-you-opening-of-the-evolution-film-festival-in-mallorca-trans-iberian-blogs-el-pais/ I went to meet a very impressive woman this week: Sandra Seeling Lipski. She is the founder and director of the Evolution Film Festival which takes place next week in Mallorca. The festival will feature films and documentaries (long and short) in English or with English subtitles, which have been created by filmmakers from around […]]]>

I went to meet a very impressive woman this week: Sandra Seeling Lipski. She is the founder and director of the Evolution Film Festival which takes place next week in Mallorca. The festival will feature films and documentaries (long and short) in English or with English subtitles, which have been created by filmmakers from around the world. Sandra was born in Berlin, raised in Mallorca, then moved to New York and then Los Angeles to study and then work professionally in the theater and film industry.

So why did you decide to start a film festival on your island? “When I started I was 27 and I was very naive and I just did. An innocent ! This thought occurred to me why isn’t there a film festival in Mallorca? Why not, it’s the perfect place, it’s in the center of Europe, the connections to get there are incredible. I just thought: I’m just going to do it, and that’s pretty much what I did. I had never even done an event before, just felt like I needed to. My parents live in Mallorca, and my brother also has a business here, so I came here regularly anyway, so I thought why not just bring my life to LA with me?

“The first year went pretty well: we had around 450 guests. I thought no one would come, but somehow these people found out, and it was a very international audience. And then I started to have people contacting me asking if we would do a second year, although I wasn’t sure. But then I thought, okay, let’s start over, and we had 1,500 guests. The positive response has been simply overwhelming. There was a real festival spirit. People would go to the movies and watch the movies, then go to the bar afterwards and talk about the movies. It’s a conversation that starts, which I love. And then, get together and chat over coffee at the free morning events we host. We’ll be doing it at Rialto Living this year: directors come, actors come and you can talk to them and be in this very relaxed environment and meet people that you maybe always wanted to talk to. So I created these little encounters and brought all of these movies here and somehow it blossomed.

Tone Adsero, manager of the Cort hotel, Esperanza Crespí and Sandra Seeling


It’s not easy to do something like this, is it?
“Of course there was also the moment where I thought, well, maybe I’m going to have to quit because there’s not enough money and not enough help and this, and this, and that. But somehow it just wanted to happen again. We have a fantastic new graphic designer who helped us revamp our new logo and our new look, and that helped us attract some new private sponsors which are really important. This year, the Cort Hotel is sponsoring the filmmakers’ rooms, allowing them to have accommodation while they are here. We have Mercedes doing all the transport for us, Rialto Living who runs the Café con Cine mornings. The Ayuntamiento has given us twenty bus stops where we can put our posters. And we have a fantastic relationship with the people at Teatro Principal and Cine Ciutat. They love us and support us, it’s pretty amazing. They love the event, it’s that it’s young and it’s fresh and new. I’m not where I want it to be yet, I need to have a budget to pay the people who are working on the festival next year so we are looking for sponsors for 2015 ”.

Hélium, Oscar winner for best short film 2014, presented at the festival.

What’s the process? “I start choosing films in March, then I come to Mallorca in May and talk to the sponsors, then I come back for the six weeks before the festival. And I also organize the Los Angeles edition of the festival which is a great promotion for the island, it introduces the island to the filmmakers who can come here and shoot a movie.

How do you choose the films? “The first year we got about 100 submissions, the second 150 and this year we exceeded 230 submissions. I watch them all and choose from the program of this one. In this year’s festival we have 43 films! We have feature films, short films and documentaries, so we have a bit of everything. It is an international festival. We will be showing three films by local Mallorcan filmmakers: Pep Bonet, Toni Bestard and Nofre Moyà. The films fall under the theme of ‘Cultural Differences’, how our society treats the elderly, our relationships between humans and animals and nature, the power of music and a wide range of genres such as drama, comedy, suspense and musicals. They are all unique and forty of the films are shown for the first time in Spain. I chose them because they are socially and environmentally relevant, because they touch on topics that are in the news at the moment. “

Pic du Druide.  The opening film of the festival.  PHOTO CREDIT Evolution Film Festival
What can we do to help?
“We created this festival for you, talk about it, get involved, come to the screenings, tell others about it, make it yours, it’s for you”.

There will be a “warm-up screening” on Sunday November 2ndsd in Es Baluard. The festival officially opens on November 6e with a gala at the Teatro Principal. The festival screenings are all at Cine Ciutat until November 10e. There will be three “Café con cine” meetings at Rialto Living on the Friday, Saturday and Sunday of the festival. You can view the full schedule of the Evolution Mallorca International Film Festival and buy your festival tickets online at www.evolutionfilmfestival.com. Tickets are € 5 or you can buy a festival pass for the whole event for € 45. To read more articles about the islanders, visit www.mallorcastories.com.

Vicki McLeod is a freelance writer and photographer. She has lived in Mallorca since 2004. Vicki writes on her beloved island for The Majorca Daily Bulletin, the only English language daily in Spain; produces regular columns for Euro Weekly News and articles for Spain-Holiday.com. Vicki manages PR strategies for several companies in Mallorca and London and works on her own blogs and projects. She and her husband, Oliver Neilson, provide photo and text content for private clients via @phoenixmediamlr. She tweets to @mcleod_vicki.



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