‘Casablanca Beats’ Film Review: World Cinema Hip-Hop Musical Is a Blitz of Movement and Music

The Tony-winning Broadway musical Come From Away will be available to watch from the comfort of your own home starting next month!

Come From Away is a month away from its premiere on Apple TV+.

Ethan Shanfeld In 2016, hot off a career-changing verse on Kanye West’s “Ultralight Beam,” Chance the Rapper released “Coloring Book.” Credited for changing the music industry’s view of streaming and the landscape of hip-hop at a time when the release of a physical edition was still seen as legitimizing an album, the mixtape topped multiple year-end lists, debuted in the top 10 of the Billboard 200 without a single “sale” and became the first streaming-only album to win a Grammy (three of them,

Andrew Barker Senior Features WriterAs far as titles go, you can’t accuse Jeremy Elkin’s “All the Streets Are Silent: The Convergence of Hip-Hop and Skateboarding (1987-1997)” of false advertising. Tracing the two youth cultures as they dance around one another and finally intersect on the streets of New York City throughout the decade, the director gathers an astonishing amount of vintage footage, and finds no shortage of deep veins to tap.

The Toronto Film Festival on Wednesday unveiled its lineups for the Contemporary World Cinema and Discovery programs as it ramps up toward the kickoff of its 46th edition September 9-18. The festival also solidified additional Gala and Special Presentation titles and took the wraps off TIFF Rewind, a new block that highlights memorable films from previous TIFF editions along with conversations and Q&As with directors and casts.

Rebecca Rubin Film and Media ReporterThe Toronto International Film Festival has revealed the slate of titles that will round out its contemporary world cinema and discovery programs.Among the films playing in the contemporary world cinema lineup include director Wen Shipei’s “Are You Lonesome Tonight,” Lorenzo Vigas’ “The Box,” Manuel Martín Cuenca’s “The Daughter” and Bouli Lanners’ “Nobody Has to Know.” The discovery program will host Tea Lindeburg’s “As In Heaven,” filmmaker Hong Sung-eun’s

Also Read: 'Concrete Cowboy' Film Review: Idris Elba Drama Finds Vibrant Life at Street-Corner StablesAn open-hearted, unapologetically emotional story of a man struggling to come to terms with what happened to his son and with his own complicity in it, "Joe Bell" makes good use of the Everyman appeal of Mark Wahlberg.

This review of “How It Ends” was first published after its January 2021 premiere at the Sundance Film Festival.The cheeriest movie ever made about Armageddon, “How It Ends” started as a way to be productive during the pandemic and ended up as a cameo-studded lark that also manages to be a touching examination of the regrets we carry around.

Director Nabil Ayouch brings heart and energy to the Cannes Film Festival competition with Casablanca Beats (Haut Et Fort), a story of arts students in the titular Moroccan city. Former rapper Anas (a charismatic Anas Basbousi) takes a job at a cultural center in a working-class part of town, and tries to teach a mixed group of kids and teens to rap.

Jessica Kiang “You have to change it because you didn’t choose it.” The defiant mantra that evolves over the course of Moroccan director Nabil Ayouch’s scrappy but heartfelt hip-hop street-musical “Casablanca Beats,” his third time in Cannes but first time in competition, could be a rallying cry for any youth activism group, anywhere in the world.

for everyone but it is about everyone – what we’re doing here on this earth and the spirits with whom we share it for whatever transient, ungraspable time we’re here. It’s not the sort of thing that needs poster quotes and star ratings.

quartier.We follow Emilie, played in a memorable debut by Lucie Zhang, who is third generation Chinese; the character works in a call center and lives in the apartment of her ailing grandmother, who is now in a nursing home.

not to show a wrenching parent-child separation?But you also wonder if there couldn’t have been a way to tell this story that could hang onto the lyricism and the vivid sense of place that initially distinguished “Blue Bayou,” while ditching some of the melodrama that eventually takes it over. But make no mistake, they’ll be breaking out the tissues when Focus Features puts “Blue Bayou” in U.S.

very Wes Andersonny? Heck, no.You wouldn’t expect anything less from “The French Dispatch,” which opened in the Main Competition section of the Cannes Film Festival on Monday.