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Ein Filmplakat zeigt eine dynamische Action-Szene in einer belebten Stadtumgebung.
In der oberen Bildhälfte ist ein junger Mann mit dunklem Haar und schmalem Oberlippenbart in voller Bewegung zu sehen. Er rennt nach links durch eine Menschenmenge, die durch Bewegungsunschärfe verschwommen wirkt. Er trägt ein weißes Unterhemd und dunkle Hosen; sein hellblaues Oberhemd streift er sich gerade im Laufen über oder es weht hinter ihm her. In der rechten Hand trägt er eine dunkle Reisetasche.
Die untere Bildhälfte wird von großem, weißem Text auf dunklerem Grund dominiert. Ganz oben steht der Name „TIMOTHÉE CHALAMET“. Darunter prangt in sehr großen, blockhaften Buchstaben der Titel „MARTY SUPREME“. Unter dem Titel folgt der Schriftzug „EIN FILM VON JOSH SAFDIE“.
Am obersten Rand des Plakats befindet sich ein Zitat der „DEADLINE“: „»CATCH ME IF YOU CAN trifft THE WOLF OF WALL STREET«“. Am unteren Rand sind verschiedene Produktionslogos (wie A24 und TOBIS) sowie die Credits in kleiner Schrift aufgeführt. Ganz unten steht fett gedruckt: „DREAM BIG • IM KINO“. Das gesamte Bild vermittelt ein Gefühl von Eile und Energie.

Ein Filmplakat zeigt eine dynamische Action-Szene in einer belebten Stadtumgebung. In der oberen Bildhälfte ist ein junger Mann mit dunklem Haar und schmalem Oberlippenbart in voller Bewegung zu sehen. Er rennt nach links durch eine Menschenmenge, die durch Bewegungsunschärfe verschwommen wirkt. Er trägt ein weißes Unterhemd und dunkle Hosen; sein hellblaues Oberhemd streift er sich gerade im Laufen über oder es weht hinter ihm her. In der rechten Hand trägt er eine dunkle Reisetasche. Die untere Bildhälfte wird von großem, weißem Text auf dunklerem Grund dominiert. Ganz oben steht der Name „TIMOTHÉE CHALAMET“. Darunter prangt in sehr großen, blockhaften Buchstaben der Titel „MARTY SUPREME“. Unter dem Titel folgt der Schriftzug „EIN FILM VON JOSH SAFDIE“. Am obersten Rand des Plakats befindet sich ein Zitat der „DEADLINE“: „»CATCH ME IF YOU CAN trifft THE WOLF OF WALL STREET«“. Am unteren Rand sind verschiedene Produktionslogos (wie A24 und TOBIS) sowie die Credits in kleiner Schrift aufgeführt. Ganz unten steht fett gedruckt: „DREAM BIG • IM KINO“. Das gesamte Bild vermittelt ein Gefühl von Eile und Energie.

#MartySupreme – ab 26.02.2026 im #LUCHSKinoHalleSaale: #JoshSafdie Thriller mit #TimothéeChalamet.
📽 youtu.be/gfi6AC8-_xQ?... 🎫 www.luchskino.de/tickets/
#LUCHSKino #Filme #Kino #MartySupremeFilm #KotoKawaguchi #A24 #A24Film #TOBIS #TOBISFilm #HalleKultur #HalleSaale #SachsenAnhalt #Deutschland

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C’è qualcosa di magnetico nel vedere un’icona reinventarsi.#A24 #A24film #A24TheSmashingMachine #attoriTheSmashingMachine #BennySafdie #biopicsportivo #castTheSmashingMachine #cinemaindipendenteamericano #cinemasportivo #cinemasportivodrammatico #DwayneJohnson
www.corrierenerd.it/the-smashing...

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Sorry, Baby - STARTS TODAY!

Winner of the 2025 Sundance Screenwriting Award!

🎟️ TICKETS: loftcinema.org/film/sorry-b...

#SorryBabyFilm #EvaVictor #Sundance2025 #A24Film #NaomiAckie #LucasHedges #BarryJenkins #LifeAfterTrauma #IndieDrama #WomenFilmmakers #LoftCinema #MustSeeIndie

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Video

Link in bio - https://youtu.be/YalmtzSUqXQ

#BringHerBack #PhilippouBrothers #TalkToMeMovie #A24Horror #HorrorReview #ModernHorror #IndieHorror #SupernaturalHorror #PsychologicalHorror #GriefHorror  
#SallyHawkins #DannyPhilippou #MichaelPhilippou #ElevatedHorror #A24Film #MovieReview #FilmReview

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Post image Post image Post image "[Romy] Did I mess with your head? 
[Samuel] Yeah. You did, but, um... but I messed with yours too, so we're equally responsible... I think we're okay. We're even. 
[Romy] But it's not okay what I've done...
[Jacob] What did you do to him? She used you. She abused you. You know that, right? Humiliation, submission, domination, whatever, you want to call it. It's just neurotic, right? Female masochism is nothing but a male fantasy. It's a male construct- 
[Samuel] No, you're wrong. It's, uh... that's a dated idea... Yeah, it's a dated idea of sexuality. I'm sorry, but you don't understand."

"[Romy] Did I mess with your head? [Samuel] Yeah. You did, but, um... but I messed with yours too, so we're equally responsible... I think we're okay. We're even. [Romy] But it's not okay what I've done... [Jacob] What did you do to him? She used you. She abused you. You know that, right? Humiliation, submission, domination, whatever, you want to call it. It's just neurotic, right? Female masochism is nothing but a male fantasy. It's a male construct- [Samuel] No, you're wrong. It's, uh... that's a dated idea... Yeah, it's a dated idea of sexuality. I'm sorry, but you don't understand."

"This. The dynamic. It's about trust..Yeah, that's what consent is, Romy..Both parties have to agree to it..Oh, come on. Just admit that this is what you want. Be honest.
You don't look comfortable at all. I think you should sit there...On the edge." #Babygirl #HBOMax #A24film #Thriller #MustSeeMay

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C’è qualcosa di magnetico nel vedere un'icona reinventarsi.#A24film #A24TheSmashingMachine #attoriTheSmashingMachine #BennySafdie #biopicsportivo #castTheSmashingMachine #cinemaindipendenteamericano #cinemasportivo #cinemasportivodrammatico #DwayneJohnson
www.corrierenerd.it/the-smashing...

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Post image “I join the military, I die young, I'm a hero. I don't join the military, I die young, I'm an unimportant statistic.” - Elegance Bratton (active duty 2005-2010)
Bratton learned filmmaking as a gay Black man in the Marines. This film is about his experiences in the era of Don't Ask, Don't Tell. 
Like his on-screen counterpart, Ellis French, Bratton was kicked out of his mother’s home as a teenager for his sexuality and he spent several years in and out of homeless shelters before joining the Marine corps, where he was eventually introduced to the art of filmmaking. 
While at Marine corps bootcamp, a place where homophobia went hand-in-hand with homoerotic energy, Bratton was forced to hide his identity. At the same time, the Marines became the home he never had and ultimately led him to where he is today. Equally complex is the relationship with his late mother.

“I join the military, I die young, I'm a hero. I don't join the military, I die young, I'm an unimportant statistic.” - Elegance Bratton (active duty 2005-2010) Bratton learned filmmaking as a gay Black man in the Marines. This film is about his experiences in the era of Don't Ask, Don't Tell. Like his on-screen counterpart, Ellis French, Bratton was kicked out of his mother’s home as a teenager for his sexuality and he spent several years in and out of homeless shelters before joining the Marine corps, where he was eventually introduced to the art of filmmaking.  While at Marine corps bootcamp, a place where homophobia went hand-in-hand with homoerotic energy, Bratton was forced to hide his identity. At the same time, the Marines became the home he never had and ultimately led him to where he is today. Equally complex is the relationship with his late mother.

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"Ever been convicted of a felony? Are you a communist? Have you recently smoked marijuana, or ingested other narcotics? Are you in a terrorist cell? Are you now, or have you ever been a homosexual?" #TheInspection #Paramount+ #A24film #Drama
#Marines #lgbtqia #BlackHistoryMonth2025

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How Do You Feel About The Backrooms A24 Film?

How Do You Feel About The Backrooms A24 Film?

A24's upcoming film adaptation of the Backrooms has sparked curiosity and debate among fans.

How do viewers feel about this unique horror concept making its way to the big screen?

#Backrooms #A24Film

thegamer.com/thre...

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kit connor in a war movie changed my brain chemistry
#kitconnor #heartsky #warfare #a24 #a24film #heartstopper

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