"Peaky Blinders", the Brit crime drama TV series based on a real post-War gang from Birmingham England, stars Cillian Murphy, Sam Neill, Tom Hardy, Paddy Considine, Adrien Brody, Aidan Gillen, Charlotte Riley, Sam Claflin and Anya Taylor-Joy, now streaming the final Season Six episodes on Netflix:
"...set in Birmingham, England, the series follows the exploits of the 'Shelby' crime family in the direct aftermath of the 'First World War'. led by 'Tommy Shelby' (Cillian Murphy). The gang comes to the attention of 'Major Chester Campbell' (Sam Neill), a 'Detective Chief Inspector' in the 'Royal Irish Constabulary' (Ric) sent over by 'Winston Churchill',
"Series One concludes on 'Black Star Day' where the 'Peaky Blinders' plan to take over betting at the 'Worcester Races'.
"Series Two sees the Shelby family expand in the South and North while maintaining a stronghold in their Birmingham heartland.
"Series Three, in...
"...set in Birmingham, England, the series follows the exploits of the 'Shelby' crime family in the direct aftermath of the 'First World War'. led by 'Tommy Shelby' (Cillian Murphy). The gang comes to the attention of 'Major Chester Campbell' (Sam Neill), a 'Detective Chief Inspector' in the 'Royal Irish Constabulary' (Ric) sent over by 'Winston Churchill',
"Series One concludes on 'Black Star Day' where the 'Peaky Blinders' plan to take over betting at the 'Worcester Races'.
"Series Two sees the Shelby family expand in the South and North while maintaining a stronghold in their Birmingham heartland.
"Series Three, in...
- 8/1/2022
- by Unknown
- SneakPeek
Many—maybe too many, looking at this bunch of bone-tired warriors of Av-virtue—were the travels the Ferroni Brigade embarked on all through 2011: oftentimes for festivals all over Europe, sometimes for visits to this archive or that as part of our programming arbeit (to be read with a Japanese drawl). During those months in the dark, we saw a lot—some of which chimed and rhymed with new works we encountered in this multiplex back home or that gallery abroad, on this collector's Steenbeck or in that producer's private projection room (they still exist).
On one of those trips, we were joined by our main Mubi-man, His Kasness a.k.a. the Kasest with whom we plunged one evening into a brainstorming on what The Festival would look and feel like (truth be told: it was more like a communal delirium—but what do you expect from folks sitting...
On one of those trips, we were joined by our main Mubi-man, His Kasness a.k.a. the Kasest with whom we plunged one evening into a brainstorming on what The Festival would look and feel like (truth be told: it was more like a communal delirium—but what do you expect from folks sitting...
- 1/5/2012
- MUBI
There are no credits at the opening of Hugo Fregonese's Black Tuesday (1954), just a few shots, one wide and one a medium close-up, that tell very little but give you a moment to settle in. The opening's main sequence, which feels like it’s out of a lost pre-Code film, starts with a prisoner behind bars banging on an object and singing a song. The camera stays with him a moment before quickly tracking and then panning into the darkness and landing on another prisoner (the always welcome Edward G. Robinson) bathed in shadows and constrained by glowing white bars. The camera stops, the man moves and the camera follows until it's time to find a new prisoner in the same situation.
There’s no overall sense of the space itself in the sequence, just a seemingly endless parade of men illuminated in the darkness, with nothing to do but pace back and forth.
There’s no overall sense of the space itself in the sequence, just a seemingly endless parade of men illuminated in the darkness, with nothing to do but pace back and forth.
- 11/14/2011
- MUBI
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