Filmmaking

Actor Justin Long (Galaxy Quest, Live Free or Die Hard, Tusk) and his younger brother Christian wrote and directed the comedy Lady of the Manor, which opened in theaters across the country on Friday.

Shot in Tampa and St. Pete in early 2020 (squeaky production just before the pandemic), Lady of the Manor stars Melanie Lynskey (Heavenly Creatures, two and a half Men) as Hannah, a perpetually stoned loser in life who finds herself in a job of touring direction through a 19^e Century Savannah Mansion.

Hannah is a train wreck, which means she’s an easy pick for the opportunistic and perpetually horny offspring of the owner family (played with creamy glee by Ryan Phillipe).

In her life comes the ghost of Lady Wadsworth, who was murdered there (by her husband Sleazebag, also played by Phillipe) just after the Civil War. Lady W wants to right some historical wrongs – and she can’t stand Hannah’s rude mouth and botched alcoholism (among others), either.

Thus the shipwreck and the apparition form an improbable link.

Judy Greer (Jurassic World, Ant-Man, Halloween) plays the role of the beautiful lady, and Justin Long has taken on a major role as a love interest and unlikely ally for Hannah – a history professor at college.

Lady of the Manor is available to stream, and in St. Petersburg, it’s on screen at Green Light Cinema and Seminole Studio Move Grill.

Lady Wadsworth (Judy Greer) and Hannah (Lynskey).

St. Pete Catalyst: Melanie Lynskey is so good at it. It wasn’t until I saw the gag reel running alongside the end credits that I realized she was speaking normally with a strong New Zealand accent. Her character looks like a lot of American women I’ve met over the years..

Christian: Among other things, she is really good at covering her accent. But that’s the least of what makes her impressive. She’s been one of our favorite actresses for so long. Justin had worked with her on a drama, and they had so much fun between takes, just laughing with her. He just liked his sense of humor. We didn’t think she would agree to make this movie, but we wondered why not give her a Hail Mary? She hadn’t had the chance to do a hotter type of comedy before.

Justin: I knew how funny she was. But because of the hotter elements, we were a little scared to send it to her AND to Judy – I mean, I know they’re funny women, but as actresses they’re so classy. They have such a classy reputation. And what surprised us was that they really embraced some of the hottest elements of it. This is what they really looked into and were excited to do. But it couldn’t have been a better combination of talent and a sense of humor.

Watching and hearing Lady Wadsworth’s fart was one of the highlights of my week.

Justin: That was one of the things we were on the fence on. Sometimes when you write something like that it’s like once you’re on set, and once you have a great actress like Judy Greer saying the words and playing the character, sometimes those things change. These two, they’re so truthful that whenever they were hesitant to do something, we would always listen to them. It always meant that there was a flaw in the handwriting. And we just trusted their instincts.

I kind of thought that might be one of those times, where Judy would be like, ‘Yeah, it might be a little too much if I fart now, when we have this kind of heartwarming moment.’

Christian: It has become a moment that warms the farts.

Justin: Judy coined the phrase “A farts-warming comedy”. She was so into it.

What is the genesis of this story? Have you been pacing back and forth for a while?

Christian: One evening, a few years ago, one of us said: “Do you think it would be a funny idea to make a comic version of psychopath? Where Norman Bates’ mother, instead of inspiring him to murder people, was really boring and interfering too much with his personal life? “

We couldn’t really figure this out. It seemed inherently too tragic, because, you know, you’re talking about someone’s dead mother. But it kind of led to what has become Lady of the Manor. Who was that dynamic, most appropriate character, the school marmy character and the opposite, a modern day character.

Justin: And Christian and I both really like weird couple-type comedies, boyfriend comedies. We grew up watching Laurel & Hardy, Planes, trains and automobiles, what about Bob, these have always been our favorite movies, the movies that really inspired us. So when we decided to make our own thing, it just felt so natural to us. We felt like we were familiar enough with this genre and maybe we could give it a try.

Filming inside the St. Pete’s Pelican pub. Photo: Visit St. Pete / Clearwater.

I lived in Savannah. Georgia has a very nice tax incentive program for filmmakers, unlike Florida. So … why did you film it here, and not in the city where it is set??

Christian Long: It’s about as simple as the producers who supported the film had ties to Florida. And they had an infrastructure there. We were skeptical at first, because we know how unique Savannah is, in terms of everything.

Justin Long: They have some great ghost tours in Savannah, which I’ve taken, and that’s part of the reason we put it there. So selfishly, we just wanted to hang out there. We wanted to shoot it there. But yeah, the people we were related with, who thought they could raise the money to make the movie, they just had those connections over there in Florida.

Christian: We were skeptical, but we were wrong. They claimed it would double for Savannah, and I think they were right. There was so much more history in the St. Pete / Tampa area than we expected.

Justin: It’s always a nice compliment on the movie when someone who knows Savannah – and I know you didn’t say that, I don’t put a word in your mouth – when they see the movie, they suppose we shot it there. It’s a testament to the people of our locations – and to the beauty of St. Pete itself. I didn’t know there were such old parts of St. Pete, that there was so much history there.

The way your character and Melanie’s came together at the end reminded me of the Woody Allen ending. Love and death, where he and Diane Keaton wear disguises to assassinate Napoleon. It was that kind of comedic nonsense.

Justin: Oh my God, I love this movie. I wonder if it was somewhere in our subconscious. This film has been a huge comedic influence for me. The way he used this historical context… and the score too! This is one of my favorites. Prokofiev! (He whistles Prokofiev’s “Lieutenant Kije’s Suite”). Now I want to see him again.

It was great to see (former St. Pete resident) Andi Matheny with Patrick Duffy and Ryan Phillippe.

Justin: God, is she good. She’s still good. In fact, as soon as Andi started doing his scenes, we immediately regretted that the role was not more important. We wish we had time to add more stuff, because she and Patrick Duffy were so funny together.

Hope this doesn’t sound offensive, but we were surprised at the amount of local talent. We found our wardrobe department, our production department… the teams there and the acting was really a delight.

We had such a good local team. We now had so many friends there so hopefully they can check it out. We are so happy that it is showing in theaters there. We’re glad people are watching it.

On the set: Ryan Phillipe, on the left, Andi Matheny and Patrick Duffy. Photo courtesy of Andi Matheny.

Fans of the big screen may have good news ahead, as Prime Minister General Prayut Chan-o-cha has agreed to pass on a proposal from the Creative Industry and Artist Network to reopen theaters and allow film making again.

The Prime Minister met with representatives of the network which acts as a lobbying force on behalf of more than 40 entertainment industry organizations as well as individual artists at the national and local levels. The meeting was held by video conference and Prime Minister Prayut was sensitive to the plight of the industry during Covid-19.

The network advocated for film crews to resume filming across the country to produce new content. They also proposed easing restrictions to allow cinemas and other arts venues to reopen in low-risk areas to share that content. Cinemas have had to deal with repeated closures due to the Covid-19 pandemic.

A government spokesperson said the prime minister had listened to their demands and assured them that he agreed with their proposal and would forward it to the Center for Covid-19 Situation Administration, which is the body director who would ultimately have control of the decision.

He suggested that the CCSA review the proposal and create the restrictions and regulations necessary to allow a safe working environment for all those struggling due to Covid-19 in the creative and arts industry.

Prime Minister Prayut also pledged to work for financial relief for the industry, including financial aid programs such as soft loans and tax breaks in an effort to maintain the creditworthiness of filmmakers and other artistic businesses during the pandemic. .

SOURCE: National Bureau of Information of Thailand

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Quentin Tarantino’s childhood dream was to be successful as a writer and director – a dream that paid off big. Tank dogs got its name in the Hollywood industry, and pulp Fiction put his name on the card. By the time Tarantino achieved the success he sought, however, the dream had become stale. After flirting with stardom for a few years, the prolific screenwriter put his passion on the back burner. Instead of making movies, Tarantino spent six years living his best life. And I enjoyed every second.

Quentin Tarantino’s first successes

Tarantino’s fortune came just in his late twenties. The Proof of death director was 29 when his first feature film, Tank dogs, finally made its way from script to screen. Although there has been a lot of controversy surrounding his violence, he has been almost universally praised. Tarantino went on to move past his debut with pulp Fiction, which won the Oscar for Best Original Screenplay, giving recognition to Tarantino.

By the time his third film, Jackie Brown, released in theaters, the stardom appeal had waned. Tarantino had become too popular for convenience. This led him to take an extended hiatus from filmmaking.

Quentin Tarantino took a break from the movies to live through his 30s and 20s

In an interview with Dax Shepard on his podcast Chair expert, Tarantino explains the six-year gap between Jackie Brown and Kill Bill.

“After Jackie Brown came out, I had become so famous, ”Tarantino told Shepard before referring to a word from Bob Dylan. “The prison walls are crumbling, there is no end in sight. I gained my recognition, but I lost my appetite.

Tarantino goes on to explain how he stepped away from the camera to party in his 30s.

“My 20s weren’t that great,” Tarantino said. “So in my thirties, I looked better than in my twenties. And I had money, and I was famous. So I decided that I was going to live my twenties and thirties for. at least three or four years.

Quentin Tarantino won’t return after his next movie breakup

When Tarantino steps away from the spotlight a second time, don’t expect him to return. The filmmaker insisted on withdrawing from the cinema after his tenth film. Many fans tried to dissuade Tarantino from retiring, but the Inglorious Basterds the director has not moved from his position.

“I don’t want to be a director who directs just because he doesn’t know anything else to do,” Tarantino said. Popcorn with Peter Travers. “I like the idea of ​​10 and it’s done. I like the idea of ​​not moving on to another period of my career, per se, because of age, longevity, and length.

Related: Quentin Tarantino Named These 3 Movies As His All-Time Favorites

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Sitting in the ballroom of the Windsor Arms Hotel in Toronto, actor-turned-media mogul Joshua Jackson takes a piece of chewing gum and slips it under his mask, emblazoned with the logo of his Canadian company, Liquid Media Group. The Vancouver-born star of The case, Dawson Creek, and the new Dr Mort, streaming on Amazon Prime, sits next to CEO and director of his company, Ron Thomson. Jackson jokingly calls the Toronto International Film Festival “their debutants’ ball.” Tonight, the (doubly vaccinated) members of his company who have traveled from Los Angeles, New York and Tofino will meet at their first partnership dinner to exchange ideas on black cod and champagne. The multi-storey hotel serves as a clubhouse for this festival, as it will host parties and panel discussions on the future of new media. The whole thing has Big Startup Energy, as I’m invited to take a free mask and a bottle of branded water. “Liquid liquid,” explains Thomson.

The company was co-founded by the actor in 2018 to address structural issues in the film industry. He experimented with new media, games and visual effects, unclear about his true destiny. It wasn’t, for example, Brad Pitt’s Plan B Entertainment, making award-winning films while working as a shingle in the traditional studio system, or Reese Witherspoon’s Hello Sunshine, designed to harness the power of the stars to achieve dream projects. Instead, he craved something more radical, a complete dismantling of the industry itself.

“I want to recreate Warner Brothers, but in 2021,” says Jackson. “Streaming has removed so many barriers to entry and what I thought was going to take five, 10 years, instead took one COVID. This demand for content, the proliferation of platforms is great for filmmakers in theory. But in practice, unless you learn a whole bunch of other new jobs, you won’t be able to recreate all the tools that the traditional system has for itself.

Jackson previously worked in the production of independent films. In 2008 he was executive producer on the film Blatant Canada One week, in which a prophetic message wraps the rim message “Go west young man” on the character’s Tim Hortons coffee mug acts as the catalyst for a scenic motorcycle trip across Canada. (Gord Downie appears as a weed-smoking sensei.)

But producing and starring in independent films exhausted him. “I know so many talented people who are constantly on this hamster wheel of ‘I’m not finishing this thing and not giving it out in the next six months, they’re going to take my house,’ Jackson says. ‘I want to walk you through. every step of the way, where the price is not ‘We own it all now, thank you for your hard work.’ Although cinema is always difficult, it doesn’t have to be punitive. ”

When asked exactly what Liquid Media will do and who they will be doing it with, Jackson and Thomson outline a strategy to help filmmakers through the stages of script development, packaging, financing and distribution of production, aided by “research of psychoanalytic data”, a Thomson method compares to what we saw in the plot of the film Silver ball, to help them tap emerging markets. As an example, they cite IndieFlix, the recently acquired “edutainment company” by Liquid, which sells social justice documentaries and workplace harassment videos to a list of customers including schools, military organizations and military organizations. American banks.

Although Jackson does not say whether they will keep an eye out for booming Canadian writers during TIFF (the actor has not been to a movie theater for two years for fear of spreading COVID to his daughter d ‘one year), it is clear that her heart remains with the fate of her home and her native land.

“Americans don’t even have a clue what Cancon is,” says Jackson. “If they do, they think our films are bad, or slow, and if to some extent that is true, no one has cultural hegemony over the bad, and what we do is also very good. !

“We certainly don’t want to end the Telefilm system any more than we want to end the traditional studio system. But one of the things that I recognized growing up in the industry is that the need to get your money back is very motivating.

Thomson says Liquid Media was founded in Canada for a reason.

“I have had my own business for 22 years, helping businesses and production companies break the boundaries of what they call ‘the make-believe world of Canadian film and television,’ explains Thomson. “It’s the thing that kills us, but it also holds us back. The Canada Media Fund, Telefilm, the Canada Council for the Arts and Canadian Heritage are failing to help Canadians get out and tell these stories outside of Canada, as they should be. . ”

“The last Star Trek movie is a Canadian movie as far as I’m concerned: we produced it here, it’s our teams, we built it, we did a lot of digital effects,” adds Jackson. “I really think it’s time for us to step into the reality that we’re at their level, we just have to take the risk of getting the reward, and that has to be backed up with imagination beyond, “Oh that’s gonna make a great Telefilm”, or “that’ll make a great Saturday night CBC movie”.

“We’re pretty good,” the actor concludes. “We’re good enough at telling amazing stories for the rest of the planet. ”

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The making of my new film, Civil war (or, who do we think we are), was deeply linked to the fact that I became a mother. In fact, “Mom”. This is what my daughters often call me. They are 10 and 8 at the time of this writing, about to be 11 and 9. I love it when they call me mom.

I always wanted children. I have never been ambivalent about this. When I was little, my mother described motherhood as a woman’s great superpower. None of the endless complications or emotional contradictions of motherhood were discussed. But I always felt they existed and worried about them nonetheless. I was worried that I would have my wings clipped once I had a baby, that I would not be able to reach my best self once I had to take care of someone else. A big part of me made my second movie, Big men, as proof to myself that I could do something so hard and complicated, to enjoy a freedom of movement and an ability to take risks that I feared I would lose once I had a child.

My first daughter was born in 2010, while I was still filming Big men in west Africa. My second daughter was born in 2012, right after the image was locked. And indeed, in 2014, as I was considering what next project to undertake, the irrefutable fact of my daughters played a huge role in my decision-making. My first two films had followed stories as they unfolded – stories of white men seeking power and profit, stories about what it means to be an American, here. and abroad. And they were both truth movies. Making a truth movie is its own kind of hell for anyone who wants to feel in control of any part of their destiny. It requires a constant embrace of the unknown, a daily recognition that your movie and your life are in the hands of a story you don’t control. I have always thought of it as the ultimate spiritual exercise to let go, without ever giving up and without ever letting your focus wander.

It’s not the kind of movie you can make when you’re dealing with young children. Sleep deprivation alone prohibits it, plus your schedule is no longer yours. You can’t drop everything all the time to film the latest attack on an oil pipeline in the Niger Delta, or the last minute meeting on how the new Bolivian president should deal with an emerging revolution.

I knew I had to work in a new way. But my films are always born out of questions and curiosity. They were always born out of my desire to learn and explore the unknown, to broaden my understanding of the world, rather than telling a story that I, or those in them, already knew well. I always wanted to have the impression of discovering through cinema.

Civil war (or, who do we think we are) was born out of this curious part of me and my need to make a movie that could work given my new life. I couldn’t follow a single story over time. I needed to do something that would be better told in several parts, and better filmed in the short periods of attention that mothering young children allows. In 2015, when I first learned that there were people – many people – in America who vehemently believed that the Civil War was not waged against slavery, I knew that I wanted to explore. It seemed obvious that by examining this fact, I could understand something fundamental about who we are as a nation and why we are, right now, so divided. And it was clear to me that telling the movie episodically was the right approach. There are so many ways of seeing in this country. I wanted to explore how Americans – of all different races, ages and regions – see and feel. And I wanted to understand why they feel what they feel.

I never felt the need to prove the facts – it was important to establish them from the first moments of the movie: The Civil War was fought against slavery, from the perspective of the South. The North made go to war to preserve the Union, not in the name of a superior moral vision of equal rights. These facts had to be taken for granted, as they are historically true. The most interesting questions for me were always about feelings – in the North and in the South, among blacks and whites and everyone – because in the end, each of us insists on a version of the truth that validates our feelings. None of us are simply dealing with the facts. So what exactly are we feeling? And why do we feel this way?

The one feeling that connects everyone in this cinema, North and South, is an instinctive and vehement conviction that we should not really talk about it. We shouldn’t be talking about the deep pain of our past because it’s too uncomfortable. It makes us feel bad. We need to focus on what feels good – achievements and heroic moments. And yet, much of this country’s past is not heroic, from slavery to white supremacy to large-scale denial of historical truth. How do we face the stories we are not proud of as a nation and recognize the ripple effects in our own lives? and always comes out more unified at the end?

As I write this essay, my mom just texted me a link to a video of a school council meeting near her home. Another mother, wearing a t-shirt with “MAMA” on the front, says that she is “a mother bear … and no one is going to prey on our little ones”. As the board discusses the shape of the upcoming school year, she says, “Unmask our children. We have finished asking for permission. We are going to unmask our children tonight. The video gives me goosebumps. As a mother of two young children who cannot be vaccinated and who are starting school again this month, the idea that they themselves, or any other child, are going to be vulnerable, in part because of people like it scares me. Of course, this woman’s position has nothing to do with the facts; it has everything to do with feelings.

This scene perfectly reflects our current civil war over the pandemic. No matter the facts, you will never convince a woman like this to hide her children without first acknowledging how she feels and why she feels the way she does. Even motherhood does not unite us.

Doing Civil war (or, who do we think we are), my goal has always been to explore the possibility of a real reunion – one that recognizes the full humanity and equality of all Americans (for me, and of course, for the sake of my children). I think we need to take ownership and talk about how we feel about the past and the present. We need to give ourselves a chance to feel heard and seen. Maybe with these first steps we can get closer to some kind of peace. Because our current conflicts will not be healed or erased by any side proving their factual righteousness: we must each look at ourselves in the mirror and recognize our blind spots and decide what we are going to do about them. Then we can ask our neighbors to do the same.

Featured Image of Civil war (or, who do we think we are) watch mthe embers of Chattanooga Connected, a discussion group that aims to engage the citizens of Chattanooga, Tennessee, in conversations that foster understanding and lasting friendships across racial lines. (Photo credit by Nelson Walker III.)

LOS ANGELES, CA, United States, September 15, 2021 /EINPresswire.com/ – While underachievers do exist, the idea of ​​overtaking is just a pipe dream; a myth that many have come to terms with for several personal reasons. Whereas indeed, the idea of ​​overperformance is the reality of someone’s underperformance and the need to put in more effort. For some, at the peak of their success is the need and thirst for more success; the constant urge to replicate past successes and even surpass them is the driving force behind many peoples, especially those in the creative industry. And after the successful releases of the First Lady series, filmmaker DeJuan Ford wakes up every day with a desire to do more and never stop doing what he loves.

DeJuan Ford is an actor, filmmaker, executive producer and founder of Faim Films and DeJuan Ford Productions; two independent film production companies based in Detroit MI. Before creativity got in the way and entrepreneurship came to call him, DeJuan worked for odd jobs and for minimum wage, learning from an early age that dedication coupled with hard work is the most dominant recipe. success. As a successful actor and entertainment entrepreneur, DeJuan has successfully transitioned from “the cable guy to the one everyone aspires to be like and many take inspiration from.” And fresh off the premiere of his latest project, “First Lady 3”, the third installment in the “First Lady” series, DeJuan believes he has delivered his best work to date and therefore spares no effort to make it happen. so that the film is aimed at the right audience.

While First Lady 3 may have ticked all the boxes of every movie that DeJuan Ford Production has come out of in terms of script, script, and behind-the-scenes effort, DeJuan hasn’t forgotten her humble early days, which loomed large. ‘saw the production of quality films which advertised him as “the new kid on the block”. He described his goal in the film industry as more important than just appearing onscreen as an actor. Instead, he made as many differences and influences as possible to leave an indelible mark on the industry. DeJuan’s first effort as a filmmaker was “True Story,” a 2016 unreleased project that was all he needed to push further as he tenaciously pursued his dreams. Since then he has added “McGraw Ave”, “Indictment: who is Jonathan Carter?” and the critically acclaimed “First Lady” series. DeJuan is in the process of consolidating his place as a legendary filmmaker.

According to DeJuan, his stint in the cinema started out as a dream; he remembers a childhood when he grew up in a movie theater where his mother worked. Therefore, seeing him pursue a career in cinema came as no surprise to anyone, as his love for art has always been evident. “My goal in this industry is bigger than just being an actor.” He said about his intention, and even when his first production attempt was not released, he was not discouraged and decided to keep insisting: “I plan to shoot this movie again”, he notes. “This is probably still my favorite scenario.”

Connect with DeJuan by following him on Instagram.

Kalisha perera
Worm entertainment
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FIRST LADY 3 (MOVIE TRAILER) Coming soon

“I have been very fortunate to work in schools, libraries, community centers, hospitals and youth detention centers,” said Ormos, who has been deeply committed to reaching young learners for many years. years.

The film festival is now the Latino Film Institute. It is also home to the Youth Cinema Project (YCP). YCP is a program running in dozens of school districts across California.

“The way the youth cinema project was created was to realize that the cavalry weren’t coming. We had to save ourselves because no one was going to save us, ”the television said. Writer and CEO Rafael Agustin said. Institute of Latin Cinema.

Two professional filmmakers guide the students. They can enroll when they reach 4th grade.

“This year is the whole year and they will learn how to do all aspects of filmmaking and storytelling,” Ormos said.

Kimberly Mendiola Leon, now a high school student from Bell Gardens, Calif., Joined the program to build confidence and rekindle the pursuit of storytelling.

“I love to write since I was little. I used to write short plays like old socks, or make dolls and wear them for my family, ”said Mendiola Leon. Quite”

“I remember having to write a screenplay when I joined YCP in college. One of the mentors told me that I really like my writing and that I should continue. He said. He saw me think it was something in the movie industry. “She said.” That’s why I came back in the movie. “

Previously undocumented immigrants aim to change the misrepresentation of TV and movies

Rafael Agustin, now an American citizen, recognizes his challenge as an immigrant to lead him to pursue his career as a television writer. It aims to change the misrepresentation of undocumented immigrants.

“I always knew we were immigrants. I didn’t know we were undocumented immigrants, ”Agustín said. “In high school, I was an exaggerated immigrant student. I was the class president, the prom king, and the top 10% in the class. Later, when I applied for college, I found it was undocumented. “Agustin is thinking. A more appropriate term is “undocumented American”.

“Many years later, I asked my mother why I hadn’t said it frankly. She said this line that I always steal from her. He said. “This is what I am in the art of. I am grateful for all immigration matters because of the way I got there. I was in a non run community college without find out how long this immigration was in play. “

Agustin said he saw a study that found undocumented immigrants on TV were less likely to find jobs, be educated, and more likely to commit crimes than U.S. citizens. ..

“It just shows us that undocumented American history on television is completely distorted,” Agustin said.

“I think MP Joaquin Castro said it best when he said the El Paso shooting changed everything. People see us as Americans and as members of a loving community. Otherwise, [but] When we think of ourselves as aliens or alien invaders, something like mass slaughter happens. And that is the exact reason why it is so important to see us represented, ”he said.

Investing in lifelong learners

“One day, I won’t have to do an International Latino Film Festival. It will be the happiest day of my life because everyone is crazy about watching movies all over the world. They will be Latin. We will celebrate the contributions of Americans of African descent and Latinos of African descent. Africans, Asians and indigenous peoples. “

“Our goal is to train lifelong learners,” he said, referring to the Youth Cinema project.

The project also aims to send any students they work with to the university, according to Agustin.

“The icing on the cake will create these pipelines and platforms for anyone who wants to work in the entertainment industry,” he said. “This is what we are trying to do as a laboratory, a Latin cinema laboratory. We are building a pipeline, a platform and a launching pad from the community to the entertainment industry.

From actors to activists, people share the story of celebrating their heritage, of expressing their Latino, Latino or Hispanic identity, of expressing and embracing diverse cultures. Celebrate Hispanic Heritage Month with “Our America: Todos Unidos” on the streaming TV app owned by ABC and Hulu.

Nowadays, smartphone cameras have all become sophisticated and powerful, allowing the capture of images and videos with great detail and quality. Most smartphone makers are happy to brag about these cameras, although a few try to put some context behind these sensors. More than just being able to take great photos or record smooth videos, Xiaomi is creating a new “Cinemagic” buzzword around the idea of ​​ditching heavy and expensive filming equipment for a Xiaomi 11T or, better yet, a Xiaomi 11T Pro.

Truth be told, the Xiaomi 11T and 11T Pro are two peas from the same pod. Unless you take a look at the spec sheet, there is no visual distinction between the two, and the differences between the two boil down to two particular features.

The Xiaomi 11T Pro above is powered by a Snapdragon 888 and comes with 8GB or 12GB of RAM. It’s also the first Xiaomi phone to launch with the company’s 120W HyperCharge which can fill the 5,000mAh battery in just 17 minutes. In contrast, the base Xiaomi 11T runs on a MediaTek 1200 5G processor with 8GB of RAM and comes with a standard turbo charging capacity of 67W.

In almost every other aspect the two have similar specs, up to the 6.67-inch 120Hz display with a 480Hz touch sample rate, although Xiaomi wants everyone to know that the The 11T Pro’s display received an A + from DisplayMate. For this advertised Cinemagic experience, the two share the exact same set of cameras with a 108MP main camera, an 8MP ultra-wide-angle shooter, and a 5MP telemacro camera with 2x zoom. The Xiaomi 11T starts at 499 EUR ($ 590), while the Xiaomi 11T Pro goes from 649 EUR ($ 770) to 749 EUR ($ 890) with maximum specs.

Xiaomi is also launching a Xiaomi 11 Lite 5G NE, which can easily be mistaken for the already existing Xiaomi Mi 11 Lite 5G. In addition to dropping the “Mi” brand as previously indicated, this “NE” version is intended to be a slightly more affordable version of the mid-range model from early 2021, now powered by a Snapdragon 778G 5G processor with 6 or 8 GB of RAM. . Although it has the same FHD + resolution as the Xiaomi 11T, its 6.55-inch display only achieves 90Hz refresh rates and 240Hz touch sample rates.

Instead of “Cinemagic,” Xiaomi is tackling a “Cinematic” spiel with the phone’s 64 MP main camera, 8 MP ultra-wide camera and 5 MP telemacro shooter. The 20MP front camera, however, might be more appealing to selfie enthusiasts. Available in more trendy colors, which includes a distinctive Snowflake White option, to appeal to younger buyers, the Xiaomi 11 Lite 5G NE will retail for 369 EUR, or around $ 440.