News

Mel Gibson, the actor-turned-director behind the controversial biblical film The Passion of the Christ, is still working on a sequel to the film that depicts Jesus' last moments. And while many would question the necessity of making a continuation, Gibson is sure about it, and his most recent comments are proof that he has a plan for addressing a major issue with the film: the fact that more than 20 years have passed since he made the first one.

On other occasions, that wouldn't be an issue. The problem is that The Passion of the Christ: Resurrection (the sequel's unofficial title) will portray the events that take place a few days after Jesus perished by crucifixion. So, how will Gibson deal with the fact that actors physically changed, some have died, and some aren't even confirmed to participate in the project? As reported by ComicBook, he has "found ways to deal with that.

"You can look away, or you can risk your life and expose it to the whole world." Signature Entertainment in the UK has released the official UK trailer for this Slovak WWII thriller The Auschwitz Escape, also known as The Auschwitz Report, inspired by the novel "What Dante Did Not See" by Alfred Wetzler. This is the true story of Freddy and Walter - two young Slovak Jews, who were deported to Auschwitz in 1942. On 10 April 1944, after meticulous planning and with the help and the resilience of their inmates, they manage to escape. They managed to return to Slovakia, but the report they wrote seemed too unbelievable to be true, despite providing direct evidence of what they had experienced. Noel Czuczor & Peter Ondrejicka star as Freddy & Walter, and the extensive cast includes John Hannah, Wojciech Mecwaldowski, Jacek Beler, Michal Rezný, Kamil Nozynski, Aleksander Mincer, and Christoph Bach. This looks better...

In Darkness

Written by David F. Shamoon

Directed by Agnieszka Holland

Poland / Germany / France / Canada, 2011

When Claude Lanzmann was developing his landmark nine-hour Holocaust documentary Shoah, his greatest self-appointed challenge was to chronicle the facts and lasting legacy of the massacring of millions of people while avoiding even the slightest intimation that the events described could be easily encapsulated within a mere film, regardless of length or scope. Lanzmann’s film is still the object of study and appreciation is cineaste circles, but in general, filmmakers haven’t been nearly as skittish as Lanzmann in tackling what he considered to be insurmountable. In the nearly two decades since that film’s release, Holocaust movies have grown into an awards-season cliché, often derided as exploiting human tragedy in order to showcase performances in the service of awards-hungry studios. It’s in this context that one will inevitably view Agnieszka Holland’s In Darkness; in this instance.