As fans of Netflix’s “The Sandman” feast on its first season, released Friday, they may begin to notice the show’s pseudo-episodic structure that delivers a wide range of genres, tones, and self-contained stories. At one moment, the series is delving deep into the mystic arts, the next moment it’s lightheartedly traversing centuries of human history, and the next moment it’s careening into classic horror. Of course, this scope resembles executive producer and writer Neil Gaiman’s original comic series, which he created as an exercise that would allow him to do anything from issue to issue. But as a TV series, Gaiman was told repeatedly through the years it wasn’t possible to mix all the various elements that comprised his acclaimed source material.
On his first-ever TV show meeting years ago with the first director who looked over his scripts, Gaiman was told that a...
On his first-ever TV show meeting years ago with the first director who looked over his scripts, Gaiman was told that a...
- 8/5/2022
- by Brandon Katz
- The Wrap
2019 selection Nathalie Álvarez Mesén’s Clara Sola plays in Directors’ Fortnight.
Breaking Through The Lens (Bttl), the year-round programme to promote projects by female and non-binary international filmmakers, has unveiled the 10 finalists in this year’s virtual pitching event at the Marché.
They include: Dina Amer’s Cain And Abel (Egypt-France-us) about two French-born Muslims caught on either side of the 2015 Charlie Hedbo attack; Nihaarika Negi’s horror Feral (US) about the arrival of a shaman on a colonial estate in 1950s India; Tricia Lee’s Idol (US), a musical biopic about the celebrated American Idol contestant William Hung; Celine Cotran...
Breaking Through The Lens (Bttl), the year-round programme to promote projects by female and non-binary international filmmakers, has unveiled the 10 finalists in this year’s virtual pitching event at the Marché.
They include: Dina Amer’s Cain And Abel (Egypt-France-us) about two French-born Muslims caught on either side of the 2015 Charlie Hedbo attack; Nihaarika Negi’s horror Feral (US) about the arrival of a shaman on a colonial estate in 1950s India; Tricia Lee’s Idol (US), a musical biopic about the celebrated American Idol contestant William Hung; Celine Cotran...
- 7/10/2021
- by Jeremy Kay
- ScreenDaily
When acclaimed supernatural series Les Revenants/The Returned aired on Canal+ in 2012, it emerged into a fairly barren landscape for French-language scripted TV drama. The story of a remote mountain town whose dead are mysteriously revived, its stylish, cinematic look and philosophical, grown-up approach to genre television had little precedent. While the French ‘polar’ or detective series had long been a television staple, France had almost no tradition of sci-fi, horror and fantasy TV shows – or at least, none taken seriously by its understandably cinephile-and-proud cultural gatekeepers.
In the last five years, coinciding with the global growth of scripted TV drama, that’s all changed. Crime thrillers still wear the crown, but alongside them, France and Belgium are producing and exporting more continuing television dramas and miniseries than ever. From Black Mirror-ish future-set Osmosis and consciousness-swapping Transfers, to cool Parisian teen Vampires and creepy horror Marianne, scripted French-language genre television is exploding.
In the last five years, coinciding with the global growth of scripted TV drama, that’s all changed. Crime thrillers still wear the crown, but alongside them, France and Belgium are producing and exporting more continuing television dramas and miniseries than ever. From Black Mirror-ish future-set Osmosis and consciousness-swapping Transfers, to cool Parisian teen Vampires and creepy horror Marianne, scripted French-language genre television is exploding.
- 7/22/2020
- by Louisa Mellor
- Den of Geek
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