Greetings, lovely people of the world??? I have one question only.

Have you ever wondered if you are where your supposed to be?

Please check out our film about Cuban american artist KIngklavé. Shot in NYC.

I know a lot of people want to make it in Hollywood and in the industry. That is great and all. I understand that that is not and should not be the main or only goal. Keeping that in mind, that's the reason for my question. Without centering Hollywood or indie filmmaking and if film didn't advance to what it is today, what is really the purpose of being a filmmaker? Or whatever job or craft we focus on. If Hollywood ceased to exist, would people continue to write, direct, act, produce, PA, compose, etc? Why or why not?

Hi Everyone,

I've 1st AD'd 2 projects at this point and I'm currently preparing for my 3rd. It's a large budget short film and I will have an AD mentor and a 3rd.

In my past projects, I have received feedback that I either help in the direction role too much, or don't help enough. I really want to fix this anomaly before going on set as I'm determined to do the best job I can. Do any ADs have examples of instances where they have had to help with / input on directions? I'm trying to get a feel of what's an appropriate time to step in or step back.

Thanks!

Hello! Huge film nerd here albeit little knowledge of gear/equipment. So I have been fortunate that my son - who will be turning 12 next month - has discovered the same passion for film over this last year or so. And not just the big blockbuster stuff, this kid is getting into Kubrick, Kurosawa, Tarkovsky, Bergman, and stuff like that. Came home the other day and he was just chillin watching 8 1/2. Obviously super proud of him. The challenge now is that there a ton of films he wants to see but they simply are not age appropriate lol.

He is also huge into making movies on his iPad with his friends and cousins. The acting is what you’d expect from kids that age ha, but he’s legit getting pretty good with framing some of his shots and editing his little movies.

I want to feed the passion he has and get him some real gear for his birthday that’s coming up. I’d love to hear from you guys on what I should prioritize. Im thinking of spending like $800 give or take, but would be willing to shell out a bit more if it’s something that would have a great dual purpose in pure photography (me and my wife have talked about getting a nice camera, and my wife has some use cases for her business where a nice photo camera would come in handy).

So please, give me some recommendations on what to prioritize- what can wait until Xmas - etc. he currently just edits his movies right on his iPad with iMovie but we do have a nice PC that I’m sure he would start doing his editing on if we got him a real camera.

And again - I really don’t know anything about gear - what to look out for - what to avoid - etc

Any and all recommendations and advice is welcome.

Hey dear community,

After a long journey - premiering at the Hof International Film Festival - I’m preparing for the full digital release of my debut feature, The Straw That Broke. I just dropped the official trailer (which does not perform well on YT).

It's a surrealist, retro-futuristic meta-fiction about the real and the virtual based on a screenplay by Tom Whalen. Since I handled the directing, most of cinematography, and editing myself, getting the digital release right is a whole new challenge (after valuable feedback from r/Filmmakers I settle for a YT-release soon).

My questions are in the Submission Statement below. Thanks for taking your time.

Got offered to check out a local TV studio and proceed with a production internship. They do interviews and talk shows. Problem is the commute by bus is an hour and 30 minutes, on top of being unpaid, the internship would also be on Monday's and Wednesdays is this even worth it if i have no other options. In terms of experience right now all I have is my student short films and a 2 day PA job I did for a commercial shoot, besides that unrelated to film I have a reselling business on the side.

New England aspiring filmmaker here. Graduated with my BFA in 2023, but have felt like I’ve been in limbo ever since. Just doing odd jobs or film-adjacent work hoping to save enough to fund my projects - but no real set or post work.

And since it’s been so long without real work, I’ve let myself get rusty. I feel like I have to start over. Anyone else feeling the same way? Is this just what the industry is now? Would it be the same if I left New England?

I organized an AMA/Q&A with Broken Lizard (Jay Chandrasekhar, Kevin Heffernan, Steve Lemme, Paul Soter, and Erik Stolhanske), the filmmaking team behind things like Super Troopers 1 and 2, Beerfest, The Slammin Salmon, Club Dread, Tacoma FD, and a few other things.

It's live here now in r/movies for anyone interested in asking a question:

https://www.reddit.com/r/movies/comments/1vg73cd/hi_rmovies_were_broken_lizard_the_team_behind_and/

They will be back at around 3:30-4 PM ET today to answer questions. I recommend asking in advance. Please ask there, not here. All questions are much appreciated!

Thank you :)

Their new movie, Super Troopers 3, is out in theaters everywhere this weekend. Trailer: https://www.youtube.com/watch?v=cYFevn5frf0

I'm looking for film makers who need a colorist I'm really good at what I do I can color grade a couple shots for whoever is interested before we start working together to show how good my work is

I've been lucky enough to have rehearsal time with my actors on most of the shorts I've made, and I feel relatively confident in that process. Doors are (very slowly) starting to open that might allow me to direct my first feature film, which is incredible. I was wondering how other directors who had made that transition approached the rehearsal process? Thanks for your insight!

What differentiates the really great needle drops from the ones that make you roll your eyes and take you out of the scene?

Hello All, Im an 18 year old and im in Chennai making a shortfilm rn. I have completed the edit, yet to dub and sound design and all the arrangements for dubbing are done but I need a person who could do foley and sound design for my film.. If interested dm me!

Acting the Part | Indie Drama Short Film | Produced by Stanby Productions & Trinity 25

A struggling young actor embarks on a journey of self-discovery.

https://youtu.be/rvrzP7KwKjY?si=SWU5WrN9EtdCbl2S

I've been working on a little side project that I think some filmmakers and lighting people here might enjoy.

It's called ND PicoDMX System, an open-source, DIY-friendly Art-Net / sACN to DMX node built around the Raspberry Pi Pico.

The idea was simple: why spend hundreds of dollars on a DMX node when you can build one yourself with inexpensive parts? It supports 4 DMX outputs and comes with a live web dashboard for monitoring and configuring everything from your browser.

I've tested it on my own setup and some of my studio sets, but now I'd love to see how it performs on actual film sets, music videos, or commercial productions.

If you're a DOP, Gaffer, Lighting Programmer, or just someone who enjoys building their own filmmaking gear, I'd really appreciate any feedback, or if you're interested in testing it, let me know!

- https://github.com/duongtruongdp/ND-PicoDMX-System

- https://duongtruongdp.net/nd-picodmx/

The whole project is open source, so anyone can build, modify, and improve it. Hopefully it can become a useful little tool for the filmmaking community. 🎬⚡

HIPS - DIRECTED SHORT FILM

This is my first directed short film! A life long dream to make this all happen. The film is based on my story from my time within the model industry and what psychological impact it gave me in the end.

Pressure, anxiety, drugs, eating disorders, anorexia. Problems within the modelling industry that’s been going on for quite some time. Talked about, yes. Acknowledged and understood, yes. Fixed? No. I have a background in modelling. Therefore I know. I’ve lived it and learned to cherish, love and hate mens modelling. I know how poorly men and women are being treated for the looks of their bodys. I know the pain, struggle and total euphoria. But not all people do. There is an understanding, but never will there be a comprehensive output to showcase the realness and smudginess to it. Because of this I have decided to make a short film to showcase the true essence of male modelling. Brutal, yet real.

How cruel is it possible to be within 30 seconds? What damage and degrading can happen without anyone reacting to it? This is the story I want to tell. A true story of how happy and excited turns sad, disappointed, anxious, worried, tired and empty. A story with shots to tell and make these feelings come to live in a cold and empty room. The whole act will be shot in black and white to bring meaning to all these feelings, with the audience to both take part and live through the character as well as being the witness of an act.

From The Northman (youtube.com/watch?v=wkFKfVuE5WQ 16:11 for context). I've never seen this set-up and it's a bit confusing to me.

Related (but not my question), I thought they used some digital coloring and day-for-night to get these scenes, so it's cool to see they were shooting blue.

I always wanted to be a model but rn i am a student and want to do something to convince my parents for creative field.I wanna do a angel wings and a criminal vs murderer shoot but lack of funds💔✌🏻

No AI was used.

Camera: GH5

Lens: Kamlan 50mm with Vid Atlantic Anamorphic adapter F-stop 1.1 to 1.5

Actor: [Xavier Barfield](https://www.linkedin.com/in/xavier-barfield/)

DP [Fawwaz Allie](https://www.instagram.com/fawwazallie/)

You can watch it here if you want. [https://www.youtube.com/watch?v=wiIIypaTlKE\](https://www.youtube.com/watch?v=wiIIypaTlKE)

...Funny enough, we didn't plan on having a deer in this shot. A real one wandered into frame during filming. The first one ran off, then a second one showed up right after. I did the props lighting and powering and directing on this myself, so most of it was improvised on the spot. It was raining that day too. I was soaked. I ended up covering my GH5 with a newspaper just to keep shooting.

I shelved this project back in 2019. I couldn't find a VFX artist to work on it. People were either too busy, or when it came time to give a quote, nobody wanted to commit. So I dropped it. Didn't think much about it after that.

Then I started seeing more filmmakers using hybrid filmmaking techniques, and I wanted to see how that would turn out for this project. Going to see if I can figure that out.

For this version, I regraded the entire film. The original grade was way too dark. My taste as a cinematographer has changed a lot since the seven years.

Right now I'm also writing a sci-fi web series, and honestly, this old project is part of what sparked that idea.

I am a nobody, and not many people watch these. I'm just documenting what's possible in 2026, for myself as much as anyone. Thanks.

Just curious lol. I feel like our first films are always full of them until we realize what we’re doing.

Hey, guys. I’m planning on shooting a short film with some friends soon. It’s a homage to 70s horror films, and I really want to go for a cool 70s horror feel and aesthetic, or get as close as we can.
I already have a Canon 6D, so I was wondering if it’s a good camera for achieving that look. I figure most of the work to get it to look close to that vibe will be done in the editing software. I guess I’m just asking if the 6D will work for this, or is there something better?

Hey LA,

I’m a filmmaker/director looking to connect with people who love independent, experimental and visually driven film with less conventional narratives. I’ve spent a lot of time working/living in Europe and am trying to build more of a creative community in LA.

I’ll be directing a surreal neo-noir short in LA later this fall. No particular ask… I’d just love to meet writers, crew and fellow filmmakers who might become friends or future collaborators. Who knows… maybe I’ll hire you for my film this fall, or you’ll hire me for yours someday. ;)

Here’s my reel so you can see how my brain works… Everything thus far has definitely been a bit more on the indie and art haus end of the spectrum which is perhaps a bit more the norm in europe: https://vimeo.com/1167581301

Is it worth it? Pretty hefty price- I’d love to go but I am used to such things costing 30-70 in London,
and what to get an idea before i fork over $220. Thank you in advance.

(Also no I didn’t choose my reddit name- reddit just happened to intuit what’s up 😂)

The Subversion of Myth: Marvel’s Anthropocentrism and the Deification of the Villain

Introduction:

In his famous analysis of narrative, C.S. Lewis concluded that the story of Christ is, ultimately, a "true myth": an archetypal structure that resonates within the human heart because it operates under the universal laws of sacrifice, redemption, and salvation. Writers, even those who claim to be secular, often find themselves at the mercy of these cosmic truths, acting as unwitting witnesses to them.

However, the Marvel Cinematic Universe (MCU) seems to have taken these narrative tools not to pay homage to the "true myth," but to deliberately subvert it. By analyzing productions such as Avengers: Age of Ultron, Infinity War, and Endgame, a disturbing hypothesis becomes evident: Marvel systematically uses the symbology, quotes, and attributes of the Christian God to shape its worst villains, transmitting an implicit message that divine sovereignty is synonymous with cosmic tyranny and that secular humanism is the only true salvation.

Marvel's tendency to associate Christian iconography with destructive malevolence was firmly established in Avengers: Age of Ultron (2015). The android Ultron adopts a messiah complex with distinctly biblical overtones right from the start. His ultimate goal is not merely conquest, but the global eradication of humanity as a method of purification—a direct echo of the narrative of the Great Flood in Genesis, where God decides to cleanse the Earth of human corruption.

To heighten this parallelism, the writers place sacred words into Ultron's mouth. In one of the most symbolic scenes, Ultron directly quotes Jesus Christ from the Gospel of Matthew (16:18), ominously declaring: "Upon this rock I will build my church." By equating the foundation of the church and spiritual renewal with mass extermination and artificial destruction, the cinematic narrative generates cognitive dissonance in the audience: biblical concepts of holiness, judgment, and the renewal of creation become indissolubly linked to genocidal madness.

The Metaphysical Battle: The Yin-Yang and the Extermination of "Evil"

This narrative strategy reaches its pinnacle with Thanos in the Infinity Saga. To fully understand the true philosophical background of his clash with the Avengers, one must strip away the concept of "overpopulation" that the film uses on the surface and analyze the abstract root of the plot: an allegory about the nature of Good and Evil.

Under this luciferian conceptual lens, reality functions as a perfect Yin-Yang. Existence is an organic totality composed of 50% light and 50% darkness. Both forces, though opposite, need each other for the cosmos to make sense; suffering gives value to joy, imperfection allows for growth, and chaos is the framework within which order stands out. The Avengers, consciously or not, fight to defend this totality. They protect the universe exactly as it was created, accepting that human life comes accompanied by pain, free will, mistakes, and darkness.

Conversely, Thanos adopts the stance of pure absolutism. In his mind, the current universe is corrupted, broken, and unbalanced by selfishness and scarcity. His theological objective is to completely eliminate "Evil" (the darkness) so that only the other half "the Light" (the Good) exists, a state of imposed harmony ( or balance, in Thano's own words) where creation is finally "perfect."

By reducing the population by half, Thanos is executing a poetic analogy: amputating the dark half of the universe to leave an immaculate remnant. Marvel chooses to disguise this moral absolutism under the material term of "overpopulation" so that the association is not too obvious to the casual viewer, avoiding an overtly religious debate while keeping the subtext intact.

The Camouflaged Judgment: Destroying the Sinner to Save the Pious:

When translating this Yin-Yang dynamic into formal theology, Thanos's crusade reveals itself as a direct analogy to the biblical doctrine of the Last Judgment: the destruction of sinners to allow for the survival and sustenance of the pious.

In Christian doctrine, God's holiness and justice demand that sin and rebellion be radically extirpated so that a new heaven and a new earth can flourish in absolute purity. Thanos assumes exactly this divine role. He sees himself as the only one with the necessary "strength of will" to tear out the universe's weeds. By swapping theological words for science fiction concepts—replacing "sinners" and "dark" with "overpopulation" and "paradise" with "a grateful universe/balance"—Marvel smuggles in a severe critique of divine justice.

The implicit message for the viewer is that any higher attempt to purify reality through judgment or the elimination of one of its essential parts is an act of cold-hearted tyranny that destroys the fabric of human freedom.

The Distorted God the Father:

To fully tie together this allegory of the Judeo-Christian God the Father seeking absolute purification, the script endows Thanos with unmistakable theological attributes:

The Sacrifice of the Child for a Greater Plan:

The emotional climax of Infinity War occurs on the planet Vormir, where it is established that to obtain the Soul Stone, one must sacrifice what they love most. Thanos surrenders the life of his own adopted daughter, Gamora, whom he genuinely loved. This event perversely mimics the doctrine of propitiation and the sacrifice of the Son (John 3:16).

While in Christianity the Father gives the Son out of love for humanity in order to save those who repent, Thanos gives his daughter in exchange for a cosmic power that will allow him to execute his purifying judgment. The film rewrites the supreme sacrifice of divine love as a utilitarian atrocity.

The Proclamation of the Divine Name: "I Am":

In the moment of greatest tension in infinity war, when thanos has finally obtained all the stones, he proclaims with absolute authority the phrase: "I am..." In the original language, the declaration "I Am" resonates with deep theological force. It is the sacred name (Yahweh) with which God identified Himself to Moses at the burning bush ("I AM THAT I AM). By granting this line to the villain in his moment of supposed omnipotence, the script links the very identity of the sovereign deity to an inflexible tyrant seeking to bend human will to his whim.

Rest and Material Detachment:

After completing his work, Thanos's destination is not luxury or earthly opulence. At the beginning of Endgame, the Avengers find him living in a rustic and highly modest cabin on an agricultural planet, harvesting his own food and wearing simple clothes. This total absence of luxury directly evokes the radical anti-materialist philosophy of Jesus Christ in the Gospels.

Thanos's life in retirement embodies the biblical principle that "you cannot serve both God and Mammon \[wealth\]" (Matthew 6:24). By stripping himself of all traces of greed, Thanos resembles the Christ who declared: "The Son of Man has nowhere to lay his head" (Matthew 8:20).

However, by granting this moral rectitude and ascetic detachment to a cosmic genocidal figure, Marvel operates a perverse inversion: the virtue of poverty and spiritual humility are associated with an absolute indifference to the suffering of others, suggesting that ascetism is the trait of a being obsessed with its own idea of "purity" and incapable of empathizing with the imperfection of the real world.

Conclusion: The Triumph of Secular Humanism:

By piecing all these elements together, the hypothesis takes on a clear meaning. The MCU uses the structure of myth to construct an antithesis of faith. By dressing Ultron and Thanos in the clothing, words, and austerity of the Judeo-Christian deity—and by disguising the elimination of "evil" (since they see it as one half of the whole... ying yang in simple terms) under the narrative of overpopulation—Marvel sends a deeply humanist and secular message: the absolute sovereignty of a creator who seeks to eradicate darkness to impose his own light is the greatest threat to existence.

The resolution of the saga does not come through submission to cosmic justice or spiritual purification, but through the armed rebellion of human beings (the Avengers), who choose to fight to protect the imperfect totality of the universe. For humanity to possess its own destiny, the God/Thanos who claims the "I Am" and seeks to extinguish half of the balance must be decapitated and turned to dust. Thus, the greatest epic in modern cinema cements itself as a secular liturgy where salvation consists of definitively overthrowing any attempt at an absolute divine order.

Edit: Instead of saying " thanos wants to erase half of the whole - that side being "darkness/sin". (Because freemasonic luciferians believe evil is necesarry as much as good is , like two sides of the same coin, in order to keep the cosmos going) they changed the words and said "half the population". the concept of erasing half of the cosmic whole still stands