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Release Date: 2021-06-30
Runtime: 86 Minutes
Cast: Taylour Paige, Riley Keough, Colman Domingo, Nicholas Braun, Ari'el Stachel, Nelcie Souffrant, Nasir Rahim, Jason Mitchell, Ts Madison, Latasha Glenn
Genre: Drama, Comedy, Crime
Production Co: Killer Films, Ramona Films, Gigi Films
Country： English, Español
Synopsis
“You wanna hear a story about why me and this b--ch here fell out? It’s kind of long but full of suspense.”
On paper (or on an iPhone screen), “Zola” sounds like one of the worst ever ideas for a feature-length film. Based on a real-life Twitter thread between a Hooters waitress and a stripper, this stranger than fiction story played out over social media in 2015 — and damn if it doesn’t make for a wildly original, outrageously entertaining movie.
Zola (Taylour Paige) meets Stefani (Riley Keough) at a restaurant in Detroit, where the two begin chatting about their common interest: pole dancing. Soon after they meet, Stefani invites Zola on a cross-country road trip to Tampa, where they hope to make thousands of dollars dancing in the swanky Florida strip clubs. What starts out as a promising business venture turns into an absolutely crazy (and dangerous) outing with violent pimps, prostitution, attempted suicide, and murder. You have to see it to believe it. It’s crazy.
The story is (mostly) true, and writer – director Janicza Bravo focuses on Zola’s side of the story (although Stefani has a chance to present her version in one of the most hilarious bits in the film). You could say it’s all about individual perspective, but Zola is presented as the lone truth teller. Will we ever know the full truth? It’s unlikely.
The performances are as sensational as the story, with challenging and risky roles for all of the actors involved. Paige and Keough (in what was my favorite performance at Sundance this year) are particularly fearless as they go all-in on Zola and Stefani, Nicholas Braun is sympathetic as a kind, long-suffering boyfriend, and Colman Domingo is downright frightening as an intimidating, violent pimp. The cast takes the script and runs wild with it, and it works.
Bravo has achieved something incredible here, as she literally takes tweets and has crafted them into a saucy screenplay. The film has an appealing eccentricity to it, and it’s directed with a tongue-in-cheek style that fits the material like a glove. Her attention to detail is stellar, and the look of the film is perfectly matched to its source material.
“Zola” has a few missteps and feels overly long, but the confidence from Bravo and her cast makes the majority of its flaws disappear. It manages to stay funny, even when things get very, very dark. This is one of those wacky movies that is sure to be talked about, if only for the sheer insanity of the story.
On paper (or on an iPhone screen), “Zola” sounds like one of the worst ever ideas for a feature-length film. Based on a real-life Twitter thread between a Hooters waitress and a stripper, this stranger than fiction story played out over social media in 2015 — and damn if it doesn’t make for a wildly original, outrageously entertaining movie.
Zola (Taylour Paige) meets Stefani (Riley Keough) at a restaurant in Detroit, where the two begin chatting about their common interest: pole dancing. Soon after they meet, Stefani invites Zola on a cross-country road trip to Tampa, where they hope to make thousands of dollars dancing in the swanky Florida strip clubs. What starts out as a promising business venture turns into an absolutely crazy (and dangerous) outing with violent pimps, prostitution, attempted suicide, and murder. You have to see it to believe it. It’s crazy.
The story is (mostly) true, and writer – director Janicza Bravo focuses on Zola’s side of the story (although Stefani has a chance to present her version in one of the most hilarious bits in the film). You could say it’s all about individual perspective, but Zola is presented as the lone truth teller. Will we ever know the full truth? It’s unlikely.
The performances are as sensational as the story, with challenging and risky roles for all of the actors involved. Paige and Keough (in what was my favorite performance at Sundance this year) are particularly fearless as they go all-in on Zola and Stefani, Nicholas Braun is sympathetic as a kind, long-suffering boyfriend, and Colman Domingo is downright frightening as an intimidating, violent pimp. The cast takes the script and runs wild with it, and it works.
Bravo has achieved something incredible here, as she literally takes tweets and has crafted them into a saucy screenplay. The film has an appealing eccentricity to it, and it’s directed with a tongue-in-cheek style that fits the material like a glove. Her attention to detail is stellar, and the look of the film is perfectly matched to its source material.
“Zola” has a few missteps and feels overly long, but the confidence from Bravo and her cast makes the majority of its flaws disappear. It manages to stay funny, even when things get very, very dark. This is one of those wacky movies that is sure to be talked about, if only for the sheer insanity of the story.
A waitress agrees to accompany an exotic dancer, her put-upon boyfriend, and her mysterious and domineering roommate on a road trip to Florida to seek their fortune at a high-end strip club.
❍❍❍ TV MOVIE ❍❍❍
The first television shows were experimental, sporadic broadcasts viewable only within a very short range from the broadcast tower starting in the 1930s. Televised events such as the 1936 Summer Olympics in Germany, the 19340 coronation of King George VI in the UK, and David Sarnoff’s famous introduction at the 1939 New York World’s Fair in the US spurred a growth in the medium, but World War II put a halt to development until after the war. The 19440 World MOVIE inspired many Americans to buy their first television set and then in 1948, the popular radio show Texaco Star Theater made the move and became the first weekly televised variety show, earning host Milton Berle the name “Mr Television” and demonstrating that the medium was a stable, modern form of entertainment which could attract advertisers. The first national live television broadcast in the US took place on September 4, 1951 when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco was transmitted over AT&T’s transcontinental cable and microwave radio relay system to broadcast stations in local markets.
The first national color broadcast (the 1954 Tournament of Roses Parade) in the US occurred on January 1, 1954. During the following ten years most network broadcasts, and nearly all local programming, continued to be in black-and-white. A color transition was announced for the fall of 1965, during which over half of all network prime-time programming would be broadcast in color. The first all-color prime-time season came just one year later. In 19402, the last holdout among daytime network shows converted to color, resulting in the first completely all-color network season.Tags：
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