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Nanisca also focuses on an ambitious new recruit, Nawi, played by Thuso Mbedu. In an interview in , Nawi claimed to have fought against the French in He later died in , aged over The Amazons of Dahomey, or "Agojie," have had many other pop culture references before appearing in The Woman King, most recently in the Marvel Cinematic Universe film Black Panther. The "Dora Milaje," a regiment of guards and bodyguards composed exclusively of women, is based directly on the Dahomey Amazons.

Lupita Nyong'o, who in Black Panther played Nakia, a former lover of the late Chadwick Boseman's character T'Challa, was able to interview some descendants of the Dahomey Amazons in , after she was intrigued by their influence on the creation of the Dora Milaje for Marvel Comics and movies. Director Gina Prince-Bythewood is well into the industry, having directed many episodes on shows like Everybody Hates Chris, Girlfriends, Cloak and Dagger, and Shots Fired. She has also directed the films Beyond the Lights and Love and Basketball.

Producer and writer Maria Bello is a well-known actress and humanitarian, starring in numerous films including Coyote Ugly, Lights Out, Beautiful Boy, and Grown Ups and Grown Ups 2. Her humanitarian work includes founding "We Advance," an organization that encourages Haitian women to helping to make health care a priority and ending domestic violence within their communities, as well as being a board member of the Darfur Women's Action Group. Of course, Viola Davis will star in the title role of General Nanisca, leading her army in the battle to defend Dahomey, and Thuso Mbedu will play her young prodigy, based on Nawi's real life.

Lashana Lynch, known for her role as Carol Danvers' best friend Maria Rambeau in Captain Marvel, will play Nanisca's lieutenant in a character yet to be named. She can be seen throughout the trailer, specifically in a scene featuring a battle of strength, endurance, and determination during the Dahomey warriors' training. John Boyega, who made his leading theatrical debut in the Star Wars Universe as Finn in Star Wars: Episode VII - The Force Awakens, will play King Ghezo, ruler of Dahomey.

His character looks to and trusts General Nanisca for guidance. King Ghezo is also based on his real-life counterpart of the same name, who is said to be responsible for the cultural shift from tradition and ceremony to a militarized state, effectively creating the Agojie. Additionally, Sheila Atim will play Amenza, who is also seen alongside General Nanisca throughout the trailer as another high-ranking lieutenant.

Viola Davis stars in The Woman King, a Gina Prince-Bythewood film inspired by real historical events. The story follows General Nanisca, the leader of the Dahomey Amazons.

This group of fierce women inspired, in fact, the fictional Dora Milaje of Wakanda within the Marvel Cinematic Universe. Sony Pictures released the official trailer that reveals the Oscar winner in a promising role. Inspired by true events, The Woman King follows the emotionally epic journey of General Nanisca as she trains the next generation of recruits and prepares them for battle against an enemy determined to destroy her way of life.

There are things worth fighting for. The period film is set between the 18th and 19th centuries in Africa, and will mainly delve into the conflict between the warriors and the European invaders who threatened to conquer her kingdom. To protect the honor and future of their people, they will fight in an armed confrontation against the enslaving settlers. They will not let go so easily of everything they have worked for to build their own nation. In addition to Viola Davis in the leading role, the cast includes Lashana Lynch, John Boyega, Adrienne Warren, Sheila Atim, Thuso Mbedu, Jayme Lawson, Hero Fiennes Tiffin, Masali Baduza, Angélique Kidjo, Jimmy Odukoya, among others.

The direction fell to Gina Prince-Bythewood, the filmmaker behind The Old Guard, the successful Netflix superhero film with Charlize Theron. The development of La mujer rey began in a very unexpected way in It was during the Women Making History Awards event that producer Maria Bello suddenly launched this idea when presenting an award addressed to Davis.

Bello later teamed up with Cathy Schulman, and they recruited screenwriter Dana Stevens and other Prince-Bythewood collaborators to write the film. In March , the How to Get Away with Murder actress was officially announced as the lead. Training for the role began a few months before filming and included sports activities such as weight-bearing, running, martial arts, and weapon fighting.

Filming began in November last year in South Africa. Based on true events, this action movie tells us about the "Dahomey", an ancient African state with women warriors in the 18th century and who fought for their freedom.

Because there is no audiovisual project made by this Lady Actress -yes, with capital letters- the only winner of the triple crown of acting -Tony theater , Emy and SAGs series and Oscars cinema - that we can miss; and that her new job choice only confirms it for us. Viola is also the producer of this film that shows us the epic war they waged and is based on the Franco-Dahomeyan one, which took place between and Full Movie Watch Online Server 2.

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Set in the Comanche Nation years ago, Prey follows young skilled warrior Naru, who was raised by legendary hunters in the Great Plains, and she has to put her skills to the ultimate test when she ends up facing off with the iconic alien predator and its technically advanced arsenal. Directed by Dan Trachtenberg 10 Cloverfield Lane , the action thriller has already been receiving rave reviews — here's how you can watch the newest entry in the Predator franchise.

Prey is the fifth mainline film in the Predator franchise following Predator , Predator 2 , Predators and The Predator , not including spinoff titles Alien vs Predator and Aliens vs Predator: Requiem Trachtenberg has taken the franchise in a refreshing new direction with Prey, not only with the setting, but it will also make history with it being the first film dubbed in Comanche alongside the English version, with an authentic portrayal of the culture.

Amber Midthunder stars as Prey's lead character Naru, who recently told Digital Spy about her weeks of intense training and what were the most unpleasant aspects of her starring role. Dreadlocks and acid blood. The Yautja and the Xenomorph. However, both series have constantly oscillated in quality, each experiencing a rollercoaster trajectory from critical praise to outright disdain. The two film series, which actually share the same universe, have been associated with each other for decades.

Both spawned successful franchises under the 20th Century Fox banner. From unbelievably horrific killings to indelible performances from Sigourney Weaver and company, the original film had all the ingredients for a hit that would stand the test of time.

You know, for a time, Predator movies used to be the most "masculine," testosterone-fueled films at the multiplexes. Big guns both of the muscle, and weapon variety , a horrific monster, and men running through the jungle were always seen as MANLY STUFF.

But, that was back in the '80s and '90s, when the whole concept of "masculinity" was pretty much spelled out as being one distinct thing. But now, with movies like Prey, we live in an era where badass action movies aren't a boys only club anymore defined by gender. We thankfully now live in an era where notable female action characters can't just be counted on one hand anymore.

Yes, we still have a long way to go, but we've made some progress, if even just a little. And, while I'm aware that some people might scream "WOKE! That said, with 7 Predator-related movies out there, which is the very best? Well, you're about to find out. Simplicity is best in the "Predator" franchise. Wisely, director Dan Trachtenberg and his team of artists went back to basics with "Prey.

Cinematographer Jeff Cutter captures Naru's Midthunder journey with both natural beauty and dread. Cutter previously worked with Trachtenberg on "10 Cloverfield Lane" and "The Boys" pilot. During his early days as a cinematographer, he shot some of the biggest musical artists around, including George Michael and Mick Jagger.

Now, with "Prey," Cutter helps ground this franchise in reality by using more natural light and avoiding as much artifice as possible. Recently, Cutter talked to us about his experience of crafting the latest entry in the "Predator" franchise and explained the difficulties of shooting the famous alien.

You really feel the beauty of these landscapes. Were you using a lot of natural light making this movie? The approach that we talked about was to be as ultra-naturalistic as we could be. Not to sound too weird, but to respect nature and to respect the landscapes that we were afforded to shoot in. As opposed to trying to overly stylize things or overly complicate things, let this beauty speak for itself. The less that we could affect it, the less artificial light, I think is just a general approach of not putting anything between the audience and the film.

If you start becoming too self-aware of lighting or things that don't feel realistic, then I think you get sucked out of the movie. Ultimately, it was really something that was for contrast — here's the Predator's futuristic technology and weaponry against the primal and barebones nature of Naru's character and her journey.

When we did the night stuff with the torches, there were a couple things. For the most part, I definitely tried to light them with the torches. The two things we did is for some of the night stuff, because we had other night sequences where there weren't going to be torches — I really wanted torches in blackness, but then the more I thought about it and was thinking about the end fight and these other sequences where there isn't torch light, there has to be some kind of source.

At that point, it's obviously going to be moonlight. I wanted to always be hinting at that, but I didn't want big shafts of blue moonlight crashing through the trees. I tried to just put very soft, low underexposed amounts of blue, and then we had atmosphere always in all our exteriors whenever we could. I was trying to just get that smoke to be slightly lit in the background, so there was a little bit of contrast of the warmth and then the moonlight.

And then also, when you got to the strict moonlight scenes, you're not like, "Oh, where'd this all of a sudden come from? It goes back to what you were saying earlier about being naturalistic, but with nighttime, you can only be so naturalistic without adding too much artifice, right?

Yeah, it's funny. I think you'll talk to a lot of the cinematographers, and it is that struggle. Night can mean many things to many different people, but yes, as naturalistic as all the day exterior stuff is and can be because you can embrace the daylight and you really can just work with that. You're starting from scratch when it comes to night work.

So yes, you end up with softboxes and Condors. You think back to, "Well, what's the motivation and why is everything supposed to be naturalistic and what are you trying to do? With digital and film, how have you found that both of them compare when trying to capture both naturalistic beauty and nighttime sequences? I think you can do the same.

You could have done the same thing on film, you can rate film at, and maybe not as much as some of these sensors that can get up to 2, and dig in there, but you could take your average stock, you could push it a stop so you could be shooting in 1, ISO. You could have done the same thing, but I think digitally, it allows you to do it and it allows you to not be afraid to do it. I think that was always the thing that certainly held me back is the fear that "Oh, this isn't going to read," you know what I mean?

Digital, yes, you can immediately see it. I think that allows you to go, "I don't need a backlight here," or "All I need is let me light up the smoke in the background as opposed to backlighting the whole thing and that'll give me the depth that I need.

You'll find these beautiful images much quicker than you could on film. For me, it was always the fear of whether I was underexposing and or is there just too much black in the frame? Now, you look at an image. Some of my favorite images of the people with the torches, I think you might previously on film have feared, "Well, all you're seeing is this tiny little bit.

Ultimately, you can sign off really quickly on something that's beautiful and go, "This is great, let's shoot it. When digital cameras started to dominate movies, there were a lot of issues still be worked on, but do you remember when you first thought, "This is finally working just right"?

I remember shooting a film in It was right when the ALEXA had just come out and that was the first time where I felt like, "Oh, wow, these are really beautiful images" that weren't lacking that cinematic quality that the previous cameras, the early Sonys.

I forget what else had come out before that, maybe the RED was out. For me, it was the first iteration of the ALEXA where I was like, "Oh. It wasn't holding up as well. Still, it was amazing, but I think it was probably not for another few years when ALEXA finally was able to do 2. And then it was like, "Okay, this is kind of there. The only problem is that no such scene exists, something Trachtenberg would later figure out.

Billy does decide to face the creature head on, but the scene cuts away, leaving the audience with only his blood-curdling scream to infer death. Thankfully, a mere rumor led to something very real 35 years later. Authenticity was extremely important to Trachtenberg and his producer Jhane Myers, who is an enrolled member of Comanche Nation.

In a recent conversation with THR, Trachtenberg and Myers also discuss the artistic closing credits, which allude to the next chapter in the story. Trachtenberg: I am. There were certainly things that I almost made along the way, but now, having made something that is exciting, visceral and thrilling, and hopefully emotional and moving, I know that this would not have been the case had I taken some other jobs. How did this come together for you? Jhane Myers: Well, I was excited to do this, and it came together through Scott Aversano, who is the [executive vice president] of 20th Century.

He met me, and then introduced me to Dan and I got to interview for the producer position. Of course, it was during the pandemic, so things shut down and all work stopped. So some things were sidelined, and I had also interviewed for some other jobs. But when I found out about this, I just knew I wanted it because I rarely get to produce something totally in my culture. He always seemed to have a deeper, more instinctual understanding of the creature than the other characters, and apparently, he did inspire the idea, right?

I was in third grade when Predator came out, and I was not allowed to see R-rated movies. So then I found myself in the back of a carpool on the way to a karate tournament with all the sixth graders who had just seen Predator, and they spent the entire ride telling me the entire movie.

And I vividly remembered that they said there was a scene where Billy, the Native American tracker, stood on a bridge over a waterfall and fought the Predator. But when I eventually saw the movie, that scene was not in it. The beginning of it is, but then it cuts away.

Are there any particular details you were especially proud to include? Myers: Everything. Everything from the score to the people that were in front of the camera, the people behind the camera, the war paint and the face paint that we all developed specifically for these characters, the hairstyles, the costuming. Our costume designer, Stephanie Porter, was like a little sponge.

I actually set up a satellite office over there instead of being in the regular production office, so I could be hands-on in their area and just work with everything. So I love everything all the way to the end. Did you see the end credits? So we did hide art. We had top award-winning Native American fine artists that helped create this, and they worked with Filmograph to create that end-credit sequence, which was amazing to work on.

Trachtenberg: It certainly was intense.

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