object(MagpieRSS)#2 (23) { ["parser"]=> int(0) ["current_item"]=> array(0) { } ["items"]=> array(10) { [0]=> array(11) { ["title"]=> string(101) "Marvel Studios’ “DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS” Enters a New Dimension in ScreenX" ["link"]=> string(163) "https://bestmovies.packagingnewsonline.com/movie-production-companies/marvel-studios-doctor-strange-in-the-multiverse-of-madness-enters-a-new-dimension-in-screenx/" ["dc"]=> array(1) { ["creator"]=> string(12) "Sally Scully" } ["pubdate"]=> string(31) "Thu, 28 Apr 2022 18:16:21 +0000" ["category"]=> string(91) "Movie Production CompaniesDimensionDoctorEntersMadnessMarvelmultiverseScreenXStrangeStudios" ["guid"]=> string(51) "https://bestmovies.packagingnewsonline.com/?p=59532" ["description"]=> string(835) "“Doctor Strange in the Multiverse of Madness” will have the most ScreenX content of any Marvel film to date with 52 minutes of exclusive imagery in the visually stunning and immersive 270 degree ScreenX format. Tickets on Sale Now HOLLYWOOD, Calif., April 27, 2022 /PRNewswire/ — CJ 4DPLEX, the world’s leading producer of premium film formats ... Read more" ["content"]=> array(1) { ["encoded"]=> string(6276) "

“Doctor Strange in the Multiverse of Madness” will have the most ScreenX content of any Marvel film to date with 52 minutes of exclusive imagery in the visually stunning and immersive 270 degree ScreenX format.

Tickets on Sale Now

HOLLYWOOD, Calif., April 27, 2022 /PRNewswire/ — CJ 4DPLEX, the world’s leading producer of premium film formats and cinema technologies, announced today that Marvel Studios’ “Doctor Strange in the Multiverse of Madness” will debut in the visually immersive 270-degree panoramic ScreenX theaters worldwide starting May 6.

By expanding specially selected film sequences onto the left and right-side walls of the auditorium, ScreenX surrounds and transports moviegoers into the story and action of the film. CJ 4DPLEX worked closely with Marvel Studios and the filmmakers to ensure the highest quality presentation of the action adventure to guarantee an immersive, 270-degree panoramic viewing experience that can’t be replicated elsewhere.

After Marvel Studios and CJ 4DPLEX announced their collaboration to release films in the ScreenX format, audiences have been able to watch Marvel megahits like “Black Panther,” “Captain Marvel” and “Black Widow” in ScreenX’s peripheral three-screen design. “Doctor Strange in the Multiverse of Madness” is the next installment of this partnership and will be available on more than 372 ScreenX screens worldwide and 71 screens in North America with Regal Cinemas, Cineplex, B&B, Cinepolis and CGV Cinemas.

“ScreenX audiences will be transported into another universe with ‘Doctor Strange in the Multiverse of Madness.’ Thank you Disney, Marvel Studios and the filmmakers for your valued collaboration and innovative input to make the ScreenX experience one-of-a-kind,” said Jongryul Kim, CEO, CJ 4DPLEX.

“We’re excited for audiences to enter a new dimension with 52 minutes of exclusive ScreenX imagery highlighting for movie goers the differentiation between the cinema and the home experience,” said Don Savant, CEO & President, CJ 4DPLEX America.

“Doctor Strange in the Multiverse of Madness” tickets are on sale now and can be purchased at your local ScreenX theaters.

About “Doctor Strange in the Multiverse of Madness”
Marvel Studios’ “Doctor Strange in the Multiverse of Madness”—a thrilling ride through the Multiverse with Doctor Strange, his trusted friend Wong and Wanda Maximoff, aka Scarlet Witch. “Doctor Strange in the Multiverse of Madness” opens in U.S. theaters on May 6, 2022.

About CJ 4DPLEX
CJ 4DPLEX is a leading, next-generation cinema technology company, headquartered in Seoul with international offices in Los Angeles and Beijing. The company has created innovative film technologies for theaters worldwide that include ‘ScreenX’, ‘4DX’, and ‘4DX Screen’ for consumers to experience films in ways that were never before possible.

CJ 4DPLEX is a part of the CJ Group conglomerate that also includes entertainment powerhouses CJ CGV, the fifth largest theater chain in the world, and CJ ENM (CJ Entertainment & Media), who produced the Academy Award®, Golden Globe® and SAG Awards winning film, “Parasite”. CJ 4DPLEX was named Most Innovative Company of 2017 and 2019 in Live Events by Fast Company, and the technology has been recognized with Silver at the Edison Awards in the Media and Visual Communications-Entertainment category in 2015 and 2018.

ScreenX is the world’s first multi-projection cinema with an immersive 270 degree field of view. By expanding the image beyond the frame and onto the walls of the theatre, ScreenX draws you into the story on the main screen and immerses you in a virtual reality like setting with cinema quality resolution. To date, there are over 372 ScreenX auditoriums around the world in 38 countries.

4DX provides moviegoers with a multi-sensory cinema-going experience, allowing audiences to connect with movies through motion, vibration, water, wind, snow, lightning, scents, and other special effects that enhance the visuals on-screen. Each 4DX auditorium incorporates motion-based seating synchronized with more than 21 different effects and optimized by a team of skilled editors. To date, there are over 776 4DX auditoriums around the world, spanning over 69 countries.

4DXScreen is a powerful combination of our super premium immersive theatre technologies of ScreenX and 4DX in one auditorium, creating a never-before-seen experience for cinemagoers. To date, there are 41 4DXScreens installed around the globe.

SOURCE CJ 4DPLEX

We wish to say thanks to the author of this post for this outstanding web content

Marvel Studios’ “DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS” Enters a New Dimension in ScreenX

" } ["summary"]=> string(835) "“Doctor Strange in the Multiverse of Madness” will have the most ScreenX content of any Marvel film to date with 52 minutes of exclusive imagery in the visually stunning and immersive 270 degree ScreenX format. Tickets on Sale Now HOLLYWOOD, Calif., April 27, 2022 /PRNewswire/ — CJ 4DPLEX, the world’s leading producer of premium film formats ... Read more" ["atom_content"]=> string(6276) "

Tickets on Sale Now

“Doctor Strange in the Multiverse of Madness” tickets are on sale now and can be purchased at your local ScreenX theaters.

SOURCE CJ 4DPLEX

We wish to say thanks to the author of this post for this outstanding web content

Marvel Studios’ “DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS” Enters a New Dimension in ScreenX

" ["date_timestamp"]=> int(1651169781) } [1]=> array(11) { ["title"]=> string(102) "Empathic and Entertaining, A24’s New Film Will Make You Feel ‘Everything Everywhere All at Once’" ["link"]=> string(163) "https://bestmovies.packagingnewsonline.com/movie-production-companies/empathic-and-entertaining-a24s-new-film-will-make-you-feel-everything-everywhere-all-at-once/" ["dc"]=> array(1) { ["creator"]=> string(12) "Sally Scully" } ["pubdate"]=> string(31) "Thu, 28 Apr 2022 17:46:18 +0000" ["category"]=> string(58) "Movie Production CompaniesA24sEmpathicEntertainingfeelFilm" ["guid"]=> string(51) "https://bestmovies.packagingnewsonline.com/?p=59503" ["description"]=> string(827) "Production company A24’s newest film “Everything Everywhere All at Once” offers audiences a transcendent look into the multiverse. Having premiered in all theaters across the globe on April 8, the film’s narrative indulges in absurdity, surrealism, family and empathy. Directed by the duo Daniel “Dan” Kwan and Daniel Scheinert, collectively known as Daniels, the sci-fi ... Read more" ["content"]=> array(1) { ["encoded"]=> string(12884) "

Production company A24’s newest film “Everything Everywhere All at Once” offers audiences a transcendent look into the multiverse. Having premiered in all theaters across the globe on April 8, the film’s narrative indulges in absurdity, surrealism, family and empathy.

Directed by the duo Daniel “Dan” Kwan and Daniel Scheinert, collectively known as Daniels, the sci-fi film follows Evelyn Wang (Michelle Yeoh) who is a Chinese immigrant consumed with the mundane obligations of work, family and life. Wang’s character is neck-deep in stress, struggling to keep the family’s self-owned laundromat, her marriage and relationships with her daughter and elderly father afloat — essentially allowing her business to become the target of an inconvenient IRS audit.

Mere moments before the audit ensues, Evelyn’s seemingly meek and cautious husband takes on a sudden change in demeanor, frantically announcing that he is not only a completely different version of himself from an alternative timeline within the complex multiverse but he also believes that the present Evelyn is the only person powerful enough to save the entirety of the universe. The overwhelming information that falls upon her metamorphosizes the film into a pastiche of beauty, heartache, action and wonder that is nearly impossible to look away from, mixing artistic elements of media not typically expected of movies alone.

”Everything Everywhere All at Once” is separated into three distinct parts: part one being about the “everything,” part two being the “everywhere” and part three acting as the “all at once.” Each division transports the audience and Evelyn further into the complicated interconnectedness of the film’s multiverse and the infinite parallel timelines that unravel. Singular and minor choices a character makes spawn a new and altered universe.

As expected from an A24 film, the cinematography within “Everything Everywhere All at Once” is completely and utterly gorgeous: splendiferous montages containing frame after frame of individual versions of Evelyn’s life — each vastly different yet equally detailed and full of stunning and intricate make-up — and costuming, movement and setting, with each new concept being more creative than the former. Dynamic and unanticipated camera angles and movements are highlighted further contributing to the interesting cinematic experience.

When Evelyn first accesses an alternative version of herself, the screen, the present Evelyn and the subtitles become cracked and doubled, mirroring her fragmented sense of self in the present and infinite existences within the multiverse. Equally captivating is the use of color and light throughout, specifically in close-up shots of Evelyn looking at the camera straight on as an array of colorful light circles the screen, altering her appearance through the changing angles and shadows across her face. These particular moments show the many versions of Evelyn contained within herself — just as her face contains various appearances based on how it’s illuminated.

Similarly, scenes with the multiverse’s villain Jobu Tupaki — the alter ego of Evelyn’s daughter Joy (Stephanie Hsu), who experiences all versions of the universe and herself literally “all at once” — hold applause-worthy attention to detail. In the blink of an eye, Jobu’s physical appearance transfigures in its totality: hair, make-up and incredibly stylish outfits included, showing the talent of costume designer Shirley Kurata and the movie’s overall visual pleasantry at the hand of its cinematography, art, set-decoration and makeup crews.

Photo provided by imbd.com/Everything Everywhere All at Once

The clever meta-film false ending that concludes part one, where an alternative movie star version of Evelyn watches the present Evelyn’s life unfold in a theater, is also an example. The false ending not only surprises viewers but also exemplifies the film’s attention to the power of imagination and fiction that asks everyone to suspend disbelief in exchange for the opportunity to enter the lives and journeys outside of our own.

There are endless scenes within “Everything Everywhere All at Once” that are cinematically, visually and emotionally unforgettable. The film’s striking soundtrack enhances each of these aspects throughout, especially during the high-intensity action scenes, and grants a surprising grace and waltz-like quality amongst the chaos — serving as both a fight and an elegant partner dance.

With endless universes contained within the umbrella of the multiverse, each individual world takes on a unique absurdity, executed in a bewitching, alluring and often grotesque manner. In one universe, everyone has floppy — and frankly disturbing — hot dog fingers. In another, Evelyn works as a chef whose competitor is only successful thanks to his pet raccoon that sits beneath his chef hat and controls his movements, echoing the plot of Disney’s “Ratatouille.” There is even a universe in which no life exists at all, and Evelyn and Jobu take on the form of sentient rocks instead of humans.

While all immensely clever and increasingly unpredictable, the variety of universes hold a commonality by the film’s end that affects and cascades throughout the multiverse in an incredibly meaningful manner. So much of the film surrounds the choices unacted, the moments not seized and the paths not taken; the multiverse allows Evelyn to explore career and romance outside of the journey she’s traveled, and it forces her to confront the effects of her actions and limited perspective within the present, especially concerning her family.

Evelyn’s inability to outwardly acknowledge Joy’s sexuality in front of her traditional father (James Hong) under the guise that he’s “from a different generation” causes a noticeable strain on the mother-daughter relationship. With a version of Joy representing the film’s ultimate villain, the cosmic complexity of the multiverse’s destruction becomes a surrealist allegory for Joy’s internal rejection and pain that hinders her happiness. Although Evelyn initially dismisses her husband’s non-confrontational and child-like behavior, she comes to value that kindness is his “strategic and necessary” reaction to adversity, and it’s his lesson on empathy that eventually prompts her to support Joy with the love she deserves. Thus, empathy becomes the vehicle for salvation.

Like all aspects of “Everything Everywhere All at Once,” the cast is incredible. Yeoh’s portrayal of Evelyn is truly amazing; her multifaceted acting and performance skills, such as her comedic timing, movement within martial arts action scenes and emotional range make her the perfect lead. Ke Huy Quan’s performance as Waymond Wang also processes earnestly, which tugs at everyone’s heartstrings time and time again. Like Yeoh and Quan, Hsu brought talent, intensity and layers to her portrayal of Joy/Jobu Tupaki, marking it not only as one of the best performances of the film but arguably the best performance of her career. Jamie Lee Curtis’ role as tax auditor Deirdre Beaubeirdra is also enjoyable and well-executed.

Although its presentation is trippy, chaotic and all-containing, the film is deeply human. Among rip-tickling and ludicrous visuals, the importance of kindness, understanding and unconditional love are present and continuously stressed. By the film’s end, it is clear that empathy, family and love are at the core of “Everything Everywhere All at Once” because those values transcend through the multiverse no matter the differing universes’ strangeness.

The film is unlike any single form of media out there, processing a uniqueness and originality that the film industry has been unfortunately deprived of. While concepts like the multiverse escapism-based entertainment have gained more popularity in recent years, the film’s Asian representation and cast diversity work also to tell an important story surrounding cultural, familial and generational pressures through an explosion of cinematography that is yet to be matched.

“Everything Everywhere All at Once” can be summed up as the following: messy yet calculated, disorienting yet groundbreaking, gentle yet strong and whimsical yet full of an emotional intensity that grabs hold of one’s heart with an unswayable persistence.

“Everything Everywhere All at Once” is, in one word, unforgettable.

Clairesse Schweig is an Entertainment Staff Writer for the spring 2022 quarter. They can be reached at cschweig@uci.edu.

We wish to say thanks to the writer of this article for this amazing web content

Empathic and Entertaining, A24’s New Film Will Make You Feel ‘Everything Everywhere All at Once’

" } ["summary"]=> string(827) "Production company A24’s newest film “Everything Everywhere All at Once” offers audiences a transcendent look into the multiverse. Having premiered in all theaters across the globe on April 8, the film’s narrative indulges in absurdity, surrealism, family and empathy. Directed by the duo Daniel “Dan” Kwan and Daniel Scheinert, collectively known as Daniels, the sci-fi ... Read more" ["atom_content"]=> string(12884) "

“Everything Everywhere All at Once” is, in one word, unforgettable.

Clairesse Schweig is an Entertainment Staff Writer for the spring 2022 quarter. They can be reached at cschweig@uci.edu.

We wish to say thanks to the writer of this article for this amazing web content

Empathic and Entertaining, A24’s New Film Will Make You Feel ‘Everything Everywhere All at Once’

" ["date_timestamp"]=> int(1651167978) } [2]=> array(11) { ["title"]=> string(112) "How Focus Features’ ‘Downton Abbey: A New Era’ Ushers In Specialty Label’s First Franchise – CinemaCon" ["link"]=> string(166) "https://bestmovies.packagingnewsonline.com/movie-production-companies/how-focus-features-downton-abbey-a-new-era-ushers-in-specialty-labels-first-franchise-cinemacon/" ["dc"]=> array(1) { ["creator"]=> string(12) "Sally Scully" } ["pubdate"]=> string(31) "Thu, 28 Apr 2022 16:50:49 +0000" ["category"]=> string(93) "Movie Production CompaniesAbbeyCinemaConDowntoneraFeaturesFocusFranchiselabelsSpecialtyushers" ["guid"]=> string(51) "https://bestmovies.packagingnewsonline.com/?p=59461" ["description"]=> string(842) "EXCLUSIVE: When Downton Abbey first burst on the scene in 2010, the Julian Fellowes-created series quickly drew audiences and made headlines for its unique spin on the traditional British period drama. This was not your grandmother’s upstairs/downstairs look at the upper crust, rather its take on the aristocracy gave contemporary audiences characters and storylines they ... Read more" ["content"]=> array(1) { ["encoded"]=> string(15279) "

EXCLUSIVE: When Downton Abbey first burst on the scene in 2010, the Julian Fellowes-created series quickly drew audiences and made headlines for its unique spin on the traditional British period drama. This was not your grandmother’s upstairs/downstairs look at the upper crust, rather its take on the aristocracy gave contemporary audiences characters and storylines they could relate to with strong women, quotable dialogue and tons of heart.

Now, 12 years later comes Focus Features’ Downton Abbey: A New Era, the feature sequel to the 2019 hit film that notched $238 million in worldwide box office and became the studio’s highest-grossing title ever domestically. But A New Era isn’t just a sequel, it also establishes Focus’ first bona fide franchise — a rare beast in the specialty arena. It’s also a sign of the way the company, which is celebrating its 20th anniversary, is thinking about its future.

Directed by Simon Curtis and featuring the original cast, A New Era starts offshore rollout this week, including in the UK on Friday, and lands in North America on May 20, taking audiences on a trip to the South of France while also saving plenty of intrigue for the folks on the Grantham estate.

Deadline recently spoke with Focus chairman Peter Kujawski, vice chairman Jason Cassidy and Downton producer Gareth Neame, who is executive chairman of NBCUniversal International-owned Carnival Films and has been there since the series’ inception. The trio discussed the latest film, attracting new audiences and where things go from here. (The conversation below has been condensed and edited for clarity.)

DEADLINE: Walk me through how A New Era establishes Focus’ first franchise, rather than being considered simply a sequel.

PETER KUJAWSKI: We’ve found that the power of the relationship that the audience has to this world and these characters and this glimpse into the shifting landscapes of the eras that Downton is talking about, has built the same kind of thing — but in different ways and to a different crowd — to engage in a manner that is similar to the biggest and broadest franchises that exist out there as well.

Focus Features

You had the show, you’ve now got a couple movies, you have the touring exhibition that has been a giant global hit anywhere it’s gone, and podcasts and digital series. There’s going to be a bunch of original Downton content that is tied to the release of this movie, stories and the world in and of itself for people to spend time with.

(Original video series) Inside The Downton Kitchen and the Fireside Chat with Julian Fellowes and things like that truly in this space kind of crib on what you see more happening on the large studio scale with classic IP superheroes and action movies.

I think we’ve been lucky beneficiaries of what had been built before and the chance to make the (first) movie and then joining the Downton family and really leaning into the idea that a franchise is more than just sequels. It’s broader.

GARETH NEAME: I think we’re now just breaking into the area of, “Okay this was a hit TV show, it’s been a hit movie, hopefully it’s a successful sequel,” and I think that we’re in that space where rightly, Focus, Universal and we are looking at this as a prime piece of IP within the wider group and what can you do, what are these companies supposed to do actually when they have got these big pieces of the crown jewels.

It does feel to me like five years ago I would have been happy with six successful seasons and one movie to demonstrate that it works on the big screen. Of course the more things go on you think, “No, I don’t want it to end yet, there is more to do.”

DEADLINE: Are you going to do a third film?

KUJAWSKI: All our focus right now is making this film connect with audiences. But of course it would also be foolish of us not to be contemplating the idea of what Downton can continue to be to audiences and what a future would look like. Right now it’s really about this movie and a lot of things that we’re talking about that are on the edge of this movie that are Downton related.

NEAME: I would like to do another movie, and I’m very optimistic about this film, particularly for the fans. It’s a very special treat. It’s more focused on the core characters than the first film. It’s a family story and inevitably its construction is very easy to relate to if you’re a fan.

How Focus Features’ ‘Downton Abbey: A New Era’ Ushers In Specialty Label’s First Franchise – CinemaCon 15 — Peter Kujawski

KUJAWSKI: It’s your favorite family that not only has an adventure at home, but also the discovery of a secret that takes them to the South of France. It feels like an event and the filmmakers have gone above and beyond this time.

DEADLINE: Is there room to attract new and younger audiences who perhaps weren’t a part of that zeitgeist moment when the series first aired?

JASON CASSIDY: When we started on this journey, it was certainly an older audience. As we’ve gone through the success of the movie — it did $100M domestic, you don’t do that by just playing to older audiences — we were frankly surprised and thrilled that there were 25-40-year-olds making up a very significant part of the audience.

So we think about those audiences that are on the younger side that’s really grown and the digital content has helped build up the franchise. It’s given a real opportunity to grow it, because you don’t get the response in box office and then in the after markets from just the older audience. The age has definitely come down even as we’ve been on it. I would think in the world of people watching The Gilded Age and Bridgerton, content and shows and movies that are in this space, broadly speaking, are drawing in new eyeballs and younger eyeballs. You’re able to say, “Oh, you like Bridgerton? Boom, you’re gonna like this.”

Focus Features

KUJAWSKI: This was in a way the original and I think real credit is due to the particular genius of Julian and Gareth and how, from the get-go, before a frame of the series was shot, they saw what this genre could be.

It hit very quickly and I think it’s because they tapped into this notion that underneath the world they were talking about in terms of the classic British heritage was actually a ton of modern stuff. They knew that, and the entire series and the movies as well has always been propelled by fundamental things everyone feels all the time everywhere. Like the anxiety of just the new, the era is always changing on you and how do you respond to that and what is history and tradition, what it means to move forward. You look at the journey of Thomas Barrow over the course of the franchise which has never allowed itself to be defined by typical genre trappings. These characters are people you feel and related to in a completely contemporary and present-day sense while existing in this world of aspirational wealth and beauty and travel and all the things that the series promises — and that’s not a generational thing.

DEADLINE: You make these movies for a price, but there is a great deal of location shooting and a huge cast; how has that evolved?

KUJAWSKI: Certainly with the first film we wanted to make sure that we were building the production in a way that it could have the promise to really reignite the fervor that existed for the series, but draw it as a theatrical imperative. So, we were also kind of tactical and cautious about that. I think because of the overwhelming and immediate success from the outset through the release of the movie, certainly on this movie there was no hesitation for us to kind of amp that up.

DEADLINE: So you spent more money?

KUJAWSKI: For sure, and that was to deliver what the promise of this movie had been from the very first conversations with Gareth and Julian — this idea of going to the South of France and all that. We wanted to make sure that it was truly a grand adventure in a grand and broad and beautiful way.

Carnival Films

DEADLINE: Gareth, I recall before you made the first movie one of your concerns was the sort of herding of cats of such a big cast…

NEAME: It was a concern for the first one because in the same way as it was a stony path to migrate to the big screen, I would think that it would be quite reasonable that the actors had the same reservations. At every stage, Downton exceeded expectations, so was this going to be the one that failed? They were cautious, and then that film worked, so coming into the second film was much much easier because there were no qualms about going again.

DEADLINE: Generally speaking of Focus, you guys opened 23 films exclusively in cinemas since 2020 and the last two years have been the company’s busiest in terms of production (led by Kiska Higgs, President of Production & Acquisitions) while also maintaining the top position among specialty labels four out of the past five years. What does the future look like? Will you aim to make more franchises?

KUJAWSKI: We’re at an awfully exciting juncture as a company ourselves. We are still a theatrical company that has actually massively increased our release line during the pandemic rather than going the other way — and we have all of the support in the world to continue to do that and lean in to that. That’s indicative of the way we’re starting to think about what the future of our slate and world looks like, of using the entire apparatus to truly make franchises that aren’t just about let’s go back in the library and make a sequel to this movie. It may include some of that, but it will include a broader reach-around.

We made Hanna with Joe Wright back in the day and that became a TV series on Amazon. That kind of stuff can now flow much more naturally and organically in the kind of holistic plan we can do with the slate, our movies, our filmmakers. It’s about supercharged injection to the storytelling capabilities of the people that we’re incredibly lucky to work with, and I think that everyone’s mindset is shifting to get that it’s not just the individual movie. Each moment that you’re launching a movie you can build a world around it, you can build additional stuff that broadens the story, broadens the world, broadens your relationship with those characters, and then from there maybe another movie comes and you do the same thing in an even broader way. That is certainly an active part of our thinking.

We want to thank the writer of this write-up for this amazing content

How Focus Features’ ‘Downton Abbey: A New Era’ Ushers In Specialty Label’s First Franchise – CinemaCon

" } ["summary"]=> string(842) "EXCLUSIVE: When Downton Abbey first burst on the scene in 2010, the Julian Fellowes-created series quickly drew audiences and made headlines for its unique spin on the traditional British period drama. This was not your grandmother’s upstairs/downstairs look at the upper crust, rather its take on the aristocracy gave contemporary audiences characters and storylines they ... Read more" ["atom_content"]=> string(15279) "

DEADLINE: Walk me through how A New Era establishes Focus’ first franchise, rather than being considered simply a sequel.

Focus Features

DEADLINE: Are you going to do a third film?

DEADLINE: Is there room to attract new and younger audiences who perhaps weren’t a part of that zeitgeist moment when the series first aired?

Focus Features

DEADLINE: You make these movies for a price, but there is a great deal of location shooting and a huge cast; how has that evolved?

DEADLINE: So you spent more money?

Carnival Films

DEADLINE: Gareth, I recall before you made the first movie one of your concerns was the sort of herding of cats of such a big cast…

We want to thank the writer of this write-up for this amazing content

How Focus Features’ ‘Downton Abbey: A New Era’ Ushers In Specialty Label’s First Franchise – CinemaCon

" ["date_timestamp"]=> int(1651164649) } [3]=> array(11) { ["title"]=> string(130) "Open-loop Control CNC Machine Market Size, Analysis, Forecast to 2028 | Hurco Company , Fanuc Corporation – themobility.club" ["link"]=> string(187) "https://bestmovies.packagingnewsonline.com/movie-production-companies/open-loop-control-cnc-machine-market-size-analysis-forecast-to-2028-hurco-company-fanuc-corporation-themobility-club/" ["dc"]=> array(1) { ["creator"]=> string(12) "Sally Scully" } ["pubdate"]=> string(31) "Thu, 28 Apr 2022 12:17:23 +0000" ["category"]=> string(120) "Movie Production CompaniesAnalysisCNCCompanyControlCorporationFanucForecastHurcoMachinemarketOpenloopSizethemobilityclub" ["guid"]=> string(51) "https://bestmovies.packagingnewsonline.com/?p=59357" ["description"]=> string(913) "Global Open-loop Control CNC Machine Market report is the first of its kind research report that covers the overview, summary, market dynamics, competitive analysis, and leading players’ various strategies to sustain in the global market. This report covers five top regions of the globe and countries within, which shows the status of regional development, consisting ... Read more" ["content"]=> array(1) { ["encoded"]=> string(8895) "

Global Open-loop Control CNC Machine Market report is the first of its kind research report that covers the overview, summary, market dynamics, competitive analysis, and leading players’ various strategies to sustain in the global market. This report covers five top regions of the globe and countries within, which shows the status of regional development, consisting of market value, volume, size, and price data. Apart from this, the report also covers detailed information about various clients which is the most significant element for the manufacturers.

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As mentioned earlier, one of the most important sections of this report is competitive analysis, and this is why the team of experts has left no stone unturned while investigating the global Open-loop Control CNC Machine market. This particular section provides detailed information about the overview of the company, product overview, and key developments associated with the specific company.

One of the most essential features of this report is the inclusion of a SWOT analysis of key companies. SWOT analysis is helpful in giving information about threats and opportunities and weaknesses and strengths, which are faced by companies operating in the global Open-loop Control CNC Machine market.

The most valuable part of this report is the competitive landscape which consists of all the necessary information to examine leading players functioning in the global market for Open-loop Control CNC Machine. One of the crucial characteristics of this report is a thorough analysis of key companies’ vision and their strategies to sustain in a highly competitive industry.

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The Global Open-loop Control CNC Machine Market Report Include Following Details:

The overview of the global Open-loop Control CNC Machine market: Some of the important elements such as definition, classification, application, and other basic information are covered in this report. The expert team of analysts has given information about the chain structure of the industry together with several news and policies. The development of the industry is evaluated with information on the present status of the industry in several regions.

Table of Contents:

Global Open-loop Control CNC Machine Market Research Report 2022–2028

Chapter 1 Open-loop Control CNC Machine Market Overview
Chapter 2 Global Economic Impact on Industry
Chapter 3 Global Market Competition by Manufacturers
Chapter 4 Global Production, Revenue (Value) by Region
Chapter 5 Global Supply (Production), Consumption, Export, Import by Regions
Chapter 6 Global Production, Revenue (Value), Price Trend by Type
Chapter 7 Global Market Analysis by Application
Chapter 8 Manufacturing Cost Analysis
Chapter 9 Industrial Chain, Sourcing Strategy and Downstream Buyers
Chapter 10 Marketing Strategy Analysis, Distributors/Traders
Chapter 11 Market Effect Factors Analysis
Chapter 12 Global Open-loop Control CNC Machine Market Forecast

Key questions answered in the report include:

➸ Who are the key market players in the Open-loop Control CNC Machine Market?
➸ Which are the major regions for dissimilar trades that are expected to eyewitness astonishing growth for the Open-loop Control CNC Machine Market?
➸ What are the regional growth trends and the leading revenue-generating regions for the Open-loop Control CNC Machine Market?
➸ What will be the market size and the growth rate by the end of the forecast period?
➸ What are the key Open-loop Control CNC Machine Market trends impacting the growth of the market?
➸ What are the major Product Types of the Open-loop Control CNC Machine Market?
➸ What are the major applications of Open-loop Control CNC Machine Market?
➸ Which Open-loop Control CNC Machine Market Services technologies will top the market in the next 7 years?

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Stratagem Market Insights
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Email: sales@stratagemmarketinsights.com

We want to give thanks to the writer of this write-up for this incredible content

Open-loop Control CNC Machine Market Size, Analysis, Forecast to 2028 | Hurco Company , Fanuc Corporation – themobility.club

" } ["summary"]=> string(913) "Global Open-loop Control CNC Machine Market report is the first of its kind research report that covers the overview, summary, market dynamics, competitive analysis, and leading players’ various strategies to sustain in the global market. This report covers five top regions of the globe and countries within, which shows the status of regional development, consisting ... Read more" ["atom_content"]=> string(8895) "

Request Sample Copy of Report:
https://www.stratagemmarketinsights.com/sample/125644

Segments of Open-loop Control CNC Machine Report:

By Type
Microcontroller-based, Motion Control Chip-based, DSP-based

By Application
Aerospace and Defense , Automobile , Electronics , Healthcare , Industrial Machinery , Other Industries

Click Here to Get a Sample Copy of the Open-loop Control CNC Machine Market Report:
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Regions Covered in the Global Open-loop Control CNC Machine Market:

The scope of the Report:

For Any Query or Customization:
https://www.stratagemmarketinsights.com/quiry/125644

The Global Open-loop Control CNC Machine Market Report Include Following Details:

Table of Contents:

Global Open-loop Control CNC Machine Market Research Report 2022–2028

Key questions answered in the report include:

In Order to place the Purchase Query Click Here:
https://www.stratagemmarketinsights.com/cart/125644

Contact Us:
Mr. Shah
Stratagem Market Insights
Tel: US +1 415 871 0703 / JAPAN +81-50-5539-1737
Email: sales@stratagemmarketinsights.com

" ["date_timestamp"]=> int(1651148243) } [4]=> array(11) { ["title"]=> string(71) "Marvel Studios Boss Speaks Out on New LGBTQ Hero’s Impact on Children" ["link"]=> string(139) "https://bestmovies.packagingnewsonline.com/movie-production-companies/marvel-studios-boss-speaks-out-on-new-lgbtq-heros-impact-on-children/" ["dc"]=> array(1) { ["creator"]=> string(12) "Sally Scully" } ["pubdate"]=> string(31) "Thu, 28 Apr 2022 07:04:57 +0000" ["category"]=> string(73) "Movie Production CompaniesBossChildrenHerosimpactLGBTQMarvelspeaksStudios" ["guid"]=> string(51) "https://bestmovies.packagingnewsonline.com/?p=59283" ["description"]=> string(709) "Marvel Studios has worked hard to prove its commitment to the inclusion of characters that represent all walks of life, especially people of color and those in the LGBTQIA+ community. On the LGBTQIA+ front, from Phastos in Eternals to Loki and Sylvie in Loki, Marvel has taken major steps toward making the world in the MCU look more like ... Read more" ["content"]=> array(1) { ["encoded"]=> string(6538) "

Marvel Studios has worked hard to prove its commitment to the inclusion of characters that represent all walks of life, especially people of color and those in the LGBTQIA+ community. On the LGBTQIA+ front, from Phastos in Eternals to Loki and Sylvie in Loki, Marvel has taken major steps toward making the world in the MCU look more like the world around us.

The heavily anticipated Doctor Strange in the Multiverse of Madness will be no exception, either. While the story will, of course, focus heavily on Benedict Cumberbatch’s titular character and Elizabeth Olsen’s Wanda Maximoff/Scarlet Witch, it will also introduce Xochitl Gomez’s America Chavez. Miss America, as she’s known in the comics, will be the MCU’s first Latina LGBTQ character.

Recent interviews with Gomez and Marvel Studios President Victoria Alonso give some insight into how much America Chavez’s inclusion in the MCU matters.

America Chavez Brings Representation to Latinx, LGBTQ Youth

Marvel recently posted an interview with Xochitl Gomez and Victoria Alonso on their website where they discussed Gomez’s excitement about the role and what America Chavez brings to the MCU.

In preparing for the role, Gomez “dove straight into the comics” to learn everything she could about the character. She “instantly fell in love with [Miss America],” and saw Chavez’s “confidence as a stand-out trait.”

Victoria Alonso added that Gomez was a perfect pick to bring Miss America to life on the big screen. She noted, “With Xochitl, there was a cheekiness about her. There was a spark in her eye. We saw the defiance of America Chavez in her.”

Alonso spoke about what Chavez means to the wider MCU community in terms of representation. To her, Miss America is “the type of character [she’s] been waiting to see.”

“This character was important to me for many personal reasons, but also because it was important that we make the effort to have every kid in this world represented in our universe, and she represents both the LGBTQ+ and Latinx community. It’s the type of character I’ve been waiting to see us have since we started this journey with Iron Man back in 2008. I’m so happy she is part of the MCU family, and I know she will be a great addition.”

The veteran Marvel Studios producer, who was promoted to a position as studio president of physical and post-production, visual effects, and animation production in September 2021, noted that “children [and adolescents] want to see themselves represented” on screen with characters like Chavez “to see themselves; to not be invisible:”

“[America] is a young Latina who is part of the LGBTQ+ community, and has great power… Children want to see themselves represented. There is this level of identity that comes to be a very important moment in an adolescent’s life – to see themselves; to not be invisible.”

Gomez, who auditioned for the role at age 13, acknowledged that kids her age will be excited to “see a young person in the middle of a big story.”

“It’s so cool that fans will get to see a young person in the middle of a big story like this, and know that things that happen in our kid lives are important because it shapes who they’ll become when they’re older as adults. It’s exciting that we will hopefully get to see more of how things play out for America in the future.”

Representation Is Key in the MCU’s Future

America Chavez, Doctor Strange 2 — Marvel

Make no mistake, what fans have seen so far is just the tip of the iceberg in terms of Marvel’s plans for greater inclusion.

The path to where the studio finds itself today is in many ways an interesting mirror of the story of its counterpart in the world of comics. Where the cast of characters was once dominated by white men and highly sexualized women, the superhero world of today—both in comics and in films—has increasingly become as diverse as the world of the fans who enjoy them.

Miss America is far from the only LGBTQIA+ character slated to arrive in the MCU, and she’s also not the first. As noted above, Loki revealed the titular characters’ gender fluidity and the bisexuality of both Loki and Sylvie, while Phastos of the Eternals was shown with his husband. Thor: Ragnarok cut a scene that would have canonized Valkyrie’s bisexuality, though that may be set right in Love and Thunder.

In a time when debate rages about LGBTQIA+ representation in media intended for children, both Marvel Studios and their parent company Disney are proving that they are taking a firm stance in their commitment to allowing young people of all kinds to see themselves in the shows and films they love. As the studio looks to a future that will almost certainly include groups like the X-Men and Young Avengers, the world of the MCU is sure to become even more colorful

FOLLOW MCU DIRECT

We want to say thanks to the author of this short article for this outstanding material

Marvel Studios Boss Speaks Out on New LGBTQ Hero’s Impact on Children

" } ["summary"]=> string(709) "Marvel Studios has worked hard to prove its commitment to the inclusion of characters that represent all walks of life, especially people of color and those in the LGBTQIA+ community. On the LGBTQIA+ front, from Phastos in Eternals to Loki and Sylvie in Loki, Marvel has taken major steps toward making the world in the MCU look more like ... Read more" ["atom_content"]=> string(6538) "

Recent interviews with Gomez and Marvel Studios President Victoria Alonso give some insight into how much America Chavez’s inclusion in the MCU matters.

America Chavez Brings Representation to Latinx, LGBTQ Youth

Marvel recently posted an interview with Xochitl Gomez and Victoria Alonso on their website where they discussed Gomez’s excitement about the role and what America Chavez brings to the MCU.

Alonso spoke about what Chavez means to the wider MCU community in terms of representation. To her, Miss America is “the type of character [she’s] been waiting to see.”

“This character was important to me for many personal reasons, but also because it was important that we make the effort to have every kid in this world represented in our universe, and she represents both the LGBTQ+ and Latinx community. It’s the type of character I’ve been waiting to see us have since we started this journey with Iron Man back in 2008. I’m so happy she is part of the MCU family, and I know she will be a great addition.”

“[America] is a young Latina who is part of the LGBTQ+ community, and has great power… Children want to see themselves represented. There is this level of identity that comes to be a very important moment in an adolescent’s life – to see themselves; to not be invisible.”

Gomez, who auditioned for the role at age 13, acknowledged that kids her age will be excited to “see a young person in the middle of a big story.”

“It’s so cool that fans will get to see a young person in the middle of a big story like this, and know that things that happen in our kid lives are important because it shapes who they’ll become when they’re older as adults. It’s exciting that we will hopefully get to see more of how things play out for America in the future.”

Representation Is Key in the MCU’s Future

Make no mistake, what fans have seen so far is just the tip of the iceberg in terms of Marvel’s plans for greater inclusion.

FOLLOW MCU DIRECT

We want to say thanks to the author of this short article for this outstanding material

Marvel Studios Boss Speaks Out on New LGBTQ Hero’s Impact on Children

" ["date_timestamp"]=> int(1651129497) } [5]=> array(11) { ["title"]=> string(81) "Focus Features Touts ‘Downton Abbey 2,’ Todd Field’s ‘Tar’ at CinemaCon" ["link"]=> string(136) "https://bestmovies.packagingnewsonline.com/movie-production-companies/focus-features-touts-downton-abbey-2-todd-fields-tar-at-cinemacon/" ["dc"]=> array(1) { ["creator"]=> string(12) "Sally Scully" } ["pubdate"]=> string(31) "Thu, 28 Apr 2022 03:50:23 +0000" ["category"]=> string(78) "Movie Production CompaniesAbbeyCinemaConDowntonFeaturesfieldsFocusTarToddTouts" ["guid"]=> string(51) "https://bestmovies.packagingnewsonline.com/?p=59198" ["description"]=> string(716) "Focus Features — which is celebrating its 20th anniversary this year — came to CinemaCon on Wednesday to woo theater owners with a diverse slate of specialty films, including Downton Abbey: A New Era. “Movie theaters are sacred spaces and vital to our culture,” said Focus chairman Peter Kujawski told theater owners gathered in Las ... Read more" ["content"]=> array(1) { ["encoded"]=> string(4003) "

Focus Features — which is celebrating its 20th anniversary this year — came to CinemaCon on Wednesday to woo theater owners with a diverse slate of specialty films, including Downton Abbey: A New Era.

“Movie theaters are sacred spaces and vital to our culture,” said Focus chairman Peter Kujawski told theater owners gathered in Las Vegas this week, adding he remembers holding the hand of his future wife for the first time at a theater.

“We’ve opened 24 films in the last two years. We leaned in while others leaned out,” Kujawski continued. “We will release 15 films this year, a record. You can consider this our new normal.”

Taking the stage, distribution chief Lisa Bunnell then shared the Universal-owned specialty label’s upcoming slate.

Focus showed a sneak peek of its brand-new trailer for Mrs. Harris Goes to Paris, a whimsical, heartwarming comedy starring Lesley Manville as a British housekeeper whose dream of owning a couture Christian dress and travels to Paris. Isabelle Huppert, Jason Isaacs, and Lucas Bravo also co-star in the movie, which opens July 15.

Cinema operators were also treated to exclusive, riveting footage of Todd Field’s first film in 16 years, Tár. The film, set in the world of classical music, stars the incomparable Cate Blanchett as a conductor. Now in post-production, Tár opens Oct. 15.

Focus also presented an unreleased first look of James Gray’s Armageddon Time ahead of its world premiere at the Cannes Film Festival. The coming-of-age story about the strength of family and the generational pursuit of the American Dream showcases an all-star cast led by Anthony Hopkins, Jeremy Strong, Anne Hathaway and breakout performances from newcomers Michael Banks Repeta and Jaylin Webb.

New footage from Downton Abbey: New Era was a particular favorite for cinema owners. On May 20, North American audiences will be reunited with the beloved cast as they go on a grand journey to the South of France to uncover the mystery of the Dowager Countess’ newly inherited villa.

Members of the cast, including Michelle Dockery and Hugh Bonneville, said a special hello to theaters owners via video.

“We have our own superheroes and Downton Abbey is going to bring older folks back to the theaters,” Bunnell said.

Earlier, Veronika Kwan Vandenberg, Universal’s president of international distribution, noted that Downton Abbey begins overseas his weekend. “We look forward to bringing all the females back to the movies.”

Hollywood studios and cinema operators are gathered together this week in Las Vegas for CinemaCon, the annual convention hosted by the National Association of Theatre Owners. This year is especially crucial for exhibitors as they try to emerge from the ravages of the COVID-19 crisis and compete with streamers.

Specialty films, which rely on older adults are a particular challenge.

CinemaCon was canceled altogether in 2020, while last year’s event was a pared-down version held in late August, versus its traditional late spring slot.

This year, all five major Hollywood studios plus Lionsgate and Neon are touting upcoming slates during their time on stage inside the Colosseum at Caesars Palace.

CinemaCon 2022 runs April 25-28.

We wish to give thanks to the writer of this article for this awesome material

Focus Features Touts ‘Downton Abbey 2,’ Todd Field’s ‘Tar’ at CinemaCon

" } ["summary"]=> string(716) "Focus Features — which is celebrating its 20th anniversary this year — came to CinemaCon on Wednesday to woo theater owners with a diverse slate of specialty films, including Downton Abbey: A New Era. “Movie theaters are sacred spaces and vital to our culture,” said Focus chairman Peter Kujawski told theater owners gathered in Las ... Read more" ["atom_content"]=> string(4003) "

Taking the stage, distribution chief Lisa Bunnell then shared the Universal-owned specialty label’s upcoming slate.

Members of the cast, including Michelle Dockery and Hugh Bonneville, said a special hello to theaters owners via video.

“We have our own superheroes and Downton Abbey is going to bring older folks back to the theaters,” Bunnell said.

Specialty films, which rely on older adults are a particular challenge.

CinemaCon was canceled altogether in 2020, while last year’s event was a pared-down version held in late August, versus its traditional late spring slot.

This year, all five major Hollywood studios plus Lionsgate and Neon are touting upcoming slates during their time on stage inside the Colosseum at Caesars Palace.

CinemaCon 2022 runs April 25-28.

We wish to give thanks to the writer of this article for this awesome material

Focus Features Touts ‘Downton Abbey 2,’ Todd Field’s ‘Tar’ at CinemaCon

" ["date_timestamp"]=> int(1651117823) } [6]=> array(11) { ["title"]=> string(69) "Germany’s ZDF releases video of migrant pushback by Frontex, Greece" ["link"]=> string(136) "https://bestmovies.packagingnewsonline.com/movie-production-companies/germanys-zdf-releases-video-of-migrant-pushback-by-frontex-greece/" ["dc"]=> array(1) { ["creator"]=> string(12) "Sally Scully" } ["pubdate"]=> string(31) "Thu, 28 Apr 2022 01:44:26 +0000" ["category"]=> string(78) "Movie Production CompaniesFrontexGermanysGreecemigrantpushbackreleasesVideoZDF" ["guid"]=> string(51) "https://bestmovies.packagingnewsonline.com/?p=59152" ["description"]=> string(686) "Video shows distressed migrant boat in Greek waters being pushed back by EU’s border agency and Greek coast guard, followed by Turkish rescue of asylum seekers. Screengrab of ZDF’s video of migrants who were pushed back to sea by EU border agency and Greek coast guard in Aegean Sea on April 6, 2021. (Screenshot / ... Read more" ["content"]=> array(1) { ["encoded"]=> string(6971) "

Video shows distressed migrant boat in Greek waters being pushed back by EU’s border agency and Greek coast guard, followed by Turkish rescue of asylum seekers.

Screengrab of ZDF’s video of migrants who were pushed back to sea by EU border agency and Greek coast guard in Aegean Sea on April 6, 2021.
(Screenshot / ZDF video)

A German TV news team has witnessed an illegal migrant pushback in the Aegean sea by EU’s border agency and the Greek coast guard, during a patrol with the Turkish coast guard.

ZDF, a German public-service TV, released a video on Tuesday showing a migrant boat in Greek waters being pushed back by Frontex and Greek navy boats, and finally Turkish boats rescuing the asylum seekers.

When contacted by ZDF, Frontex said it’s under the command of the Greek authorities while the Greek officials claimed the pushing back of asylum seekers is compatible with international law.

A migrant woman of Afghan origin told the ZDF reporters that she and her children reached the Greek island once but were pushed back into the sea in a plastic boat to Turkey.

A Palestinian migrant aboard the rubber dinghy said that Greek coast guards beat them with sticks and told them to go back to where they came from in an interview with the channel.

READ MORE: Growing wave of criticism says Frontex complicit in abuse at Greek border

“Sie haben uns mit Stöcken geschlagen.”

In der Ägäis ereignet sich jede Nacht die gleiche Tragödie.

Griechenlands illegale Pushbacks werden vor den Augen von Frontex fortgesetzt.@ZDF begleitete die türkische Küstenwache und dokumentierte die Fakten.https://t.co/2bNVlw29Ee

— Fahrettin Altun (@fahrettinaltun) April 6, 2021

New video footage

ZDF’s video footage shows 22 refugees aboard a plastic boat, without a motor, drifting at sea at night.

The video also shows the group of migrants brought to the port of Dikili by the Turkish coast guard.

The refugees said Greek border troops tried to deliberately sink their boat as well.

In another incident recorded by ZDF, a rubber dinghy off Lesvos was pushed towards Turkish territory by a Greek task force in broad daylight.

Turkish communications director Fahrettin Altun shared ZDF’s video on his Twitter account, and called the recurring incidents in the Aegean a “tragedy” and pointed to the responsibility of Greece.

Illegal migrant pushbacks

The EU’s border agency has come under fire of being complicit in crimes against migrants at the Greek maritime border.

Last month, a Human Rights Watch statement said Frontex’s response to the allegations that its border patrols were involved in the pushbacks of asylum seekers, raises questions regarding the agency’s willingness to hold itself accountable.

Mare Liberum, a German NGO, last year accused Frontex of being complicit in “systematic and illegal expulsions” of the Greek coast guard that is systematically pushing migrants back towards Turkey.

A report in October 2020, released after a joint media investigation, also repeated the same sentiment saying that Frontex was actively involved in the pushbacks by the Greeks.

Another german NGO, FragDenStaat, said that Frontex tried to prevent these claims from being publicised once again.

The United Nations refugee agency UNHCR says it has received a growing number of reports in recent months suggesting asylum-seekers may have been pushed back to Turkey at sea or immediately after reaching Greek soil, or left adrift at sea.

READ MORE: Turkey accuses Greece of leaving migrants for dead in Aegean Sea

Source: TRTWorld and agencies

We would love to say thanks to the author of this article for this awesome content

Germany’s ZDF releases video of migrant pushback by Frontex, Greece

" } ["summary"]=> string(686) "Video shows distressed migrant boat in Greek waters being pushed back by EU’s border agency and Greek coast guard, followed by Turkish rescue of asylum seekers. Screengrab of ZDF’s video of migrants who were pushed back to sea by EU border agency and Greek coast guard in Aegean Sea on April 6, 2021. (Screenshot / ... Read more" ["atom_content"]=> string(6971) "

Video shows distressed migrant boat in Greek waters being pushed back by EU’s border agency and Greek coast guard, followed by Turkish rescue of asylum seekers.

Screengrab of ZDF’s video of migrants who were pushed back to sea by EU border agency and Greek coast guard in Aegean Sea on April 6, 2021.
(Screenshot / ZDF video)

A German TV news team has witnessed an illegal migrant pushback in the Aegean sea by EU’s border agency and the Greek coast guard, during a patrol with the Turkish coast guard.

When contacted by ZDF, Frontex said it’s under the command of the Greek authorities while the Greek officials claimed the pushing back of asylum seekers is compatible with international law.

A migrant woman of Afghan origin told the ZDF reporters that she and her children reached the Greek island once but were pushed back into the sea in a plastic boat to Turkey.

A Palestinian migrant aboard the rubber dinghy said that Greek coast guards beat them with sticks and told them to go back to where they came from in an interview with the channel.

READ MORE: Growing wave of criticism says Frontex complicit in abuse at Greek border

“Sie haben uns mit Stöcken geschlagen.”

In der Ägäis ereignet sich jede Nacht die gleiche Tragödie.

Griechenlands illegale Pushbacks werden vor den Augen von Frontex fortgesetzt.@ZDF begleitete die türkische Küstenwache und dokumentierte die Fakten.https://t.co/2bNVlw29Ee

— Fahrettin Altun (@fahrettinaltun) April 6, 2021

New video footage

ZDF’s video footage shows 22 refugees aboard a plastic boat, without a motor, drifting at sea at night.

The video also shows the group of migrants brought to the port of Dikili by the Turkish coast guard.

The refugees said Greek border troops tried to deliberately sink their boat as well.

In another incident recorded by ZDF, a rubber dinghy off Lesvos was pushed towards Turkish territory by a Greek task force in broad daylight.

Illegal migrant pushbacks

The EU’s border agency has come under fire of being complicit in crimes against migrants at the Greek maritime border.

A report in October 2020, released after a joint media investigation, also repeated the same sentiment saying that Frontex was actively involved in the pushbacks by the Greeks.

Another german NGO, FragDenStaat, said that Frontex tried to prevent these claims from being publicised once again.

READ MORE: Turkey accuses Greece of leaving migrants for dead in Aegean Sea

Source: TRTWorld and agencies

We would love to say thanks to the author of this article for this awesome content

Germany’s ZDF releases video of migrant pushback by Frontex, Greece

" ["date_timestamp"]=> int(1651110266) } [7]=> array(11) { ["title"]=> string(75) "Luxe Listings: Amazon Studios’ hottest Australian series rolls out format" ["link"]=> string(142) "https://bestmovies.packagingnewsonline.com/movie-production-companies/luxe-listings-amazon-studios-hottest-australian-series-rolls-out-format/" ["dc"]=> array(1) { ["creator"]=> string(12) "Sally Scully" } ["pubdate"]=> string(31) "Wed, 27 Apr 2022 20:04:42 +0000" ["category"]=> string(85) "Movie Production CompaniesAmazonAustralianformathottestListingsLuxerollsseriesStudios" ["guid"]=> string(51) "https://bestmovies.packagingnewsonline.com/?p=59042" ["description"]=> string(691) "Share Tweet Share Email Luxe Listings Sydney has been the biggest hit for Prime Video amongst the Australian series it has commissioned since launching here. Viewing over the Easter period has kept the show near the top of landing page for the video platform. (Amazon will release its 2022 Q1 results later today and will ... Read more" ["content"]=> array(1) { ["encoded"]=> string(9667) "

Example Output

Parsed Results (var_dump'ed)

Related

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America Chavez Brings Representation to Latinx, LGBTQ Youth

Representation Is Key in the MCU’s Future

FOLLOW MCU DIRECT

America Chavez Brings Representation to Latinx, LGBTQ Youth

Representation Is Key in the MCU’s Future

FOLLOW MCU DIRECT

Video shows distressed migrant boat in Greek waters being pushed back by EU’s border agency and Greek coast guard, followed by Turkish rescue of asylum seekers.

Video shows distressed migrant boat in Greek waters being pushed back by EU’s border agency and Greek coast guard, followed by Turkish rescue of asylum seekers.

Luxe Listings audience feedback

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Luxe Listings audience feedback

Luxe Listings and authenticity

Universal & Focus Features

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Universal & Focus Features

Sing 2

Halloween Kills

The Black Phone

The 355

Marry Me

Ambulance

The Bad Guys

Focus Features

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