Exciting news from the world of indie filmmaking! Florida-based filmmaker Eleni Doucas has released the official trailer for her latest project, Exodos, a poignant short film that invites us into the inner turmoil of a young woman grappling with loyalty, identity, and the courage to change her life.

Self Discovery

In this compelling narrative, we meet Haley, portrayed brilliantly by the talented Gley Veira. Haley’s upbringing under the watchful eye of a notorious thief creates a complex backdrop for her story. As she reaches a pivotal moment at just 17 years old, she encounters a heart-wrenching dilemma: should she cling to the only family she’s ever known, which has offered her a sense of belonging, or dare to step into the unknown in pursuit of a brighter future?

Eleni Doucas beautifully captures the intricacies of human emotions in Exodos. With a heartfelt commitment to exploring themes such as betrayal, self-discovery, and the transformative power of kindness, the trailer hints at a deeply layered story. Doucas poignantly remarks, “Through Hayley’s story, I aim to explore how environments defined by violence and manipulation can be challenged by the resilience of the human spirit.” This narrative promises to resonate deeply with audiences who have ever faced a turning point in their own lives.

The official trailer offers a glimpse into the tension between Haley’s two worlds: the stark reality of her life and the hope that lies beyond her comfort zone. Central to her journey is not just the fear of what she might lose by leaving, but also the potential for gaining a life rich in possibilities. Doucas intends to highlight this complex dynamic through the contrasting presence of Ben, a character whose kindness serves as a beacon of hope and support.

Exodos is more than just a film about a young girl navigating difficult choices—it’s a reflection on the choices we all face when defining ourselves and seeking redemption. Doucas emphasizes that even in the darkest situations, the human spirit has an incredible capacity for change, a message that couldn’t be more timely or crucial in today’s world.

Watch the Trailer Now:

As we anticipate the film’s release, the trailer serves as a powerful invitation to dive deeper into Hayley’s story, one that underscores the importance of courage, compassion, and the relentless pursuit of a better future. Mark your calendars for the launch of Exodos and prepare to witness a beautifully crafted tale that may just inspire us all to reconsider the paths we choose.

Stay tuned for more updates on the film, and don’t forget to catch the trailer for Exodos! It’s bound to be a cinematic experience you won’t want to miss!

About Eleni Doucas:

Eleni Doucas is a filmmaker known for her evocative storytelling and focus on profound character development. With a BFA from the New York Film Academy and an MBA from the University of Miami, Eleni combines artistic vision with business acumen. She is passionate about creating films that challenge societal norms and explore complex human experiences.

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To know more about Eleni Doucas, please follow her:

https://www.imdb.com/name/nm8722567

Related Links:

ChicArt Public Relations

www.ChicArt.world

www.Facebook.com/ChicArtPR

Los Angeles & Montreal

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Source: Eleni Doucas and ChicArt Public Relations

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Laura O’Flanagan, Dublin City University

Moana 2

Moana isn’t a typical Disney heroine, stating quite clearly in the latest instalment, Moana 2, that she is not a princess. Her friend Maui’s response – “Well, a lot of people think you are” – elicited knowing laughter from the audience when I saw the film. This shows just how much Moana has redefined what it means to be a Disney princess.

Unconcerned with traditional tropes like ballgowns and romance, Moana embodies strength, independence and a deep commitment to environmental stewardship. She powerfully demonstrates how human action can effect real environmental healing and transformation; through collaborating with the forces of nature, the world can be saved from environmental catastrophe.

In Moana 2, her commitment to protecting the Earth again takes centre stage – but this time going even further to deliver a powerful call for collective action, to restore environmental harmony and strengthen human interconnectedness. Answering the call of her ancestors, Moana sets out on a treacherous ocean voyage to ensure the survival of her island against the wishes of Nalo, a powerful storm god who is determined that humans should remain isolated from one another.

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Moana, of course, shares several traits with earlier Disney princesses. Like Belle from Beauty and the Beast and Jasmine from Aladdin, she dreams of a life beyond the confines of her immediate world. Similar to Ariel from The Little Mermaid and Mulan, she sets off on a dangerous adventure far from home. And like all the princesses before her, Moana has animal companions – Pua the pig and Hei-Hei the chicken. But what sets Moana apart is how her connection to nature is portrayed.

Disney has a long legacy of linking its princesses with nature, from Snow White and Cinderella, who recruit small animals to assist with their domestic chores, to Elsa in Frozen who can magically control ice and snow. But Moana’s relationship with the natural world is more than just symbolic interaction. Her bond with nature is an active, collaborative partnership. https://www.youtube.com/embed/qkgkUCqEum4?wmode=transparent&start=0

This is not a typical Disney princess story of self-discovery, but of active engagement with the world around her. In the first film, Moana embarks on a dangerous oceanic journey to “restore the heart of Te Fiti” – that is, repair the environmental damage caused by the trickster demi-god Maui and restore harmony to the natural world. In doing so, she sets her island and the Disney princess in a new direction.

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In the sequel, Moana is more mature, more experienced as a wayfinder, and is a highly respected member of her island community. This new story sees her lead a group of fellow islanders on a voyage to find the lost island of Motufetu and reconnect isolated island communities across the ocean. Through this, she demonstrates the power of collective action. She partners with human and non-human entities in pursuit of these goals, which will lead to better environmental outcomes and greater human connection.

Instead of simply reacting to or passively experiencing nature, as many of her Disney predecessors have, Moana works with forces of nature including the ocean, which is a key character in both films. Unlike typical 3D animation processes, where water is created through automated particle simulations, Disney artists have animated the ocean in Moana as a character, giving it more human-like movement and personality.

This approach allows the ocean to become a true partner in Moana’s journey, guiding her and actively engaging with her in meaningful ways as she restores balance to the environment and connects isolated island communities.

This is a visually stunning sequel that recaptures and builds on the magic of the first film, and should be seen on a large screen. Dazzling artistry fills every frame – in particular, bioluminescent sea life is spectacularly rendered. Polynesian culture is represented in more detail, with traditional rituals, dancing, artwork and singing giving the film a weightier authenticity.

As a musical, the songs are not initially quite as catchy as in the first film, but time will tell if they resonate with audiences. The characters have grown since we last encountered them. Moana flourishes in her role as both a leader and a protector of the Earth. We also see her develop into the role of “big sister” – to her younger sibling Simea and, symbolically, to all who she encounters.

There are heartfelt callbacks to the first film as we see Moana share her knowledge of the ocean and pass on the wisdom she has received from her grandmother, now in spirit, who is portrayed beautifully onscreen in human form and as a manta ray. Moana’s relationship with the egotistical Maui is again a source of comedy, but now contains an emotional depth that comes from a platonic friendship with roots.

Through Moana, we have moved into a new era of the Disney princess. Physically strong and fit, a skilled navigator and blossoming leader, she is a heroine on screen and in the world of the film, where she is depicted on decorative tapa cloths alongside gods and myths. She announces herself as “Moana of the land and of the sea”.

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In her seminal work Feminism and The Mastery of Nature, ecofeminist and environmental philosopher Val Plumwood wrote:

If we are to survive into a liveable future, we must take into our own hands the power to create, restore and explore different stories, with new main characters, better plots, and at least the possibility of some happy endings.

Through stories of human interconnectedness, ecological harmony and respect for the natural world, Disney’s Moana 2 appears to be doing just that.

Laura O’Flanagan, PhD Candidate in the School of English, Dublin City University

This article is republished from The Conversation under a Creative Commons license. Read the original article.

Looking for an entertainment experience that transcends the ordinary? Look no further than STM Daily News Blog’s vibrant Entertainment section. Immerse yourself in the captivating world of indie films, streaming and podcasts, movie reviews, music, expos, venues, and theme and amusement parks. Discover hidden cinematic gems, binge-worthy series and addictive podcasts, gain insights into the latest releases with our movie reviews, explore the latest trends in music, dive into the vibrant atmosphere of expos, and embark on thrilling adventures in breathtaking venues and theme parks. Join us at STM Entertainment and let your entertainment journey begin! https://stmdailynews.com/category/entertainment/

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James Francis, Jr., Texas A&M University

Horror Movies on Halloween

Horror movies are plentiful in 2024, and plenty bloody. The year has seen the release of films awash in blood, such as “Immaculate,” “The First Omen” and “The Strangers.” With Halloween on the way, bloody offerings are streaming, in theaters and running in marathons on cable.

Watch them, and you’ll likely notice that as the decades pass, the directors, writers and studio executives of these films seem to produce more and more on-screen blood, violence and gore. But why?

As a professor of horror studies, I explore the depths of the genre with my students – and for us to understand the evolution of blood in horror cinema, we first consider how films reflect their times.

Alfred Hitchcock and Michael Powell created proto-slashers with “Psycho” and “Peeping Tom,” respectively. Both films were released in 1960 about four months apart, both feature serial killers, and both operate on a “tell, don’t show” visual aesthetic. Rather than show the blood to the audience, the films provide narrative cues to only suggest the blood.

Guts, gore and so much more

In “Psycho,” Marion Crane, played by Janet Leigh, is stabbed to death in the famous shower scene. But the quick-cut editing gives only the illusion of her nude body being slashed as a small amount of blood washes down the drain in black-and-white tones. By not shooting “Psycho” in color, and avoiding the image of bright red blood in the bathtub – Hitchcock’s choice – the film doesn’t seem as violent.

By the late 1960s, the restrictive Hays Code, which prohibited overt on-screen violence and the use of fake blood, was replaced by the less stringent Motion Picture Association of America film ratings system. Filmmakers could latch onto new freedoms to express fear, anxiety and dread in more visceral depictions. One way to do that – more blood.

In “Night of the Living Dead,” George A. Romero’s 1968 seminal zombie flick, the walking dead consume the flesh of the living. Even though the movie is in black and white, the monochromatic presentation does not dull the display of the undead gobbling guts and licking up blood.

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The film’s release came six months after the assassination of Martin Luther King Jr., and a clear connection between Romero’s film and the Civil Rights Movement then taking place is apparent. The movie’s heightened gore correlates to the movement’s all-too-bloody violent struggle, as Ben, played by Duane Jones, the sole person of color among the living, hides from the ghouls in an abandoned farmhouse with a group of six white people.

Ben works to keep the group safe but faces ongoing pushback from the white male characters. At the end of the film, a group of vigilantes, believing Ben is a zombie, guns him down before tossing his body into a fire.

The symbolism as a reflection of the times is hard to miss. Romero and John Russo, who co-wrote the screenplay, didn’t initially intend to make a statement on civil rights; but later, during postproduction, Romero realized the assassination of King turned his movie into a “Black film.”

Bloody metaphors

Then came the 1970s, when blood was sprayed all over the screen. But Tobe Hooper’s “The Texas Chain Saw Massacre” (1974), William Friedkin’s “The Exorcist” (1974) and Ridley Scott’s “Alien” (1979) have something else in common: They feature women protagonists who survive the unthinkable.

Once again, blood is a common denominator. Sally’s body is covered in it after escaping Leatherface; Regan’s body, along with the blood, spews green vomit; and Ripley sees an alien burst out of a crew member’s chest. But the films weren’t just gory – they were metaphors for the uphill battle for women’s rights in the 1970s.

The original “Halloween” (1978) also fits here, but with a twist. The character of Laurie Strode, perhaps an early prototype of women protagonists in horror films, connects back to a “tell, don’t show” sensibility while simultaneously embracing changing times. While the first kill shows Michael Myers stabbing his older sister, the audience views the death from the partially veiled perspective of Myers behind his Halloween mask. You see little until her body hits the floor to reveal the blood.

Nightmares and reality

In the 1980s, the slasher subgenre dominated horror – and the bloodier, the better: These movies focus on the number of kills and the creative ways the victims are dispatched.

Each sequel in these horror franchises needed to up the kills, if for no other reason than to outdo its predecessors and competitors. Audiences began rooting for villains like Myers, Jason Voorhees and Freddy Krueger, all of whom had their own theme music, and in Freddy’s case, trademark one-liners. Many of the villains had more character development than their victims, who seemed interchangeable and little more than fodder for the slasher machine.

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The 1990s had bigger-budgeted, more innovative films, such as Wes Craven’s “New Nightmare” (1994) and “Scream” (1996). Here the attacks are more personal; the stabbings are close-up. CGI, or computer-generated imagery, used in abundance in the “Nightmare” series, allowed for more creative and bloody kills.

Scarier times mean bloodier movies

Since 9/11, horror films have existed in a place where there’s no apparent motive other than violence and bloodshed. In “The Strangers” (2008), the villains tie up, torment and savagely maim their victims. In the 2009 remake of “The Last House on the Left,” it’s the villains who meet a bloody end. Contemporary horror understands how senseless killings on screen are effective, because the removal of emotion from the violence parallels real-world incidents.

By the late 2010s, horror films link to the #MeToo and Time’s Up movements, most notably in the “Halloween” reboot trilogy, as Laurie Strode once again confronts Michael Myers and the trauma he inflicted 40 years prior.

The kills in the new “Halloween” trilogy are extremely bloody and violent. They also mirror the sexual and societal exploitation of women and their bodies. Ultimately, the series allows the protagonist, and the traumatized town of Haddonfield, to acknowledge the evil, confront it and try to finally put an end to it, once and for all.

The evolution in the horror genre’s presentation of blood and gore doesn’t necessarily make for scarier movies, but they often point to the scarier times in which we live. Earlier horror films, comparatively tamer and with less blood, were often box-office successes. But today’s audiences probably appreciate them more for their artistic merits than the fear they induce.

The preferences of horror audiences change over time, much like the ebb and flow of the blood depicted in these movies. The original “Halloween” has hardly a drop; the recent reboots are over the top – but still nowhere close to the mayhem depicted in the just-released “Terrifier 3.”

What the future holds is anyone’s guess. But check out the world around you, and you’ll certainly get a bloody good hint of what’s to come.

James Francis, Jr., Instructional Associate Professor, Texas A&M University

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This article is republished from The Conversation under a Creative Commons license. Read the original article.

Looking for an entertainment experience that transcends the ordinary? Look no further than STM Daily News Blog’s vibrant Entertainment section. Immerse yourself in the captivating world of indie films, streaming and podcasts, movie reviews, music, expos, venues, and theme and amusement parks. Discover hidden cinematic gems, binge-worthy series and addictive podcasts, gain insights into the latest releases with our movie reviews, explore the latest trends in music, dive into the vibrant atmosphere of expos, and embark on thrilling adventures in breathtaking venues and theme parks. Join us at STM Entertainment and let your entertainment journey begin! https://stmdailynews.com/category/entertainment/

and let your entertainment journey begin!