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Santa Barbara Film Festival Lineup Unveiled

The Santa Barbara Film Festival has unveiled the lineup for its 33rd edition, which will run January 31-February 10 and feature 45 world premieres and 53 U.S. premieres. The already announced opening-night film is Emilio Estevez’s The Public; the fest is still being mum on its closing-night film.

Among the annual tributes this year are awards for current awards-season staples including Gary Oldman, Willem Dafoe, Saoirse Ronan, Sam Rockwell and Viruosos Awards to Daniel Kaluuya, Gal Gadot, Hong Chau, John Boyega, Kumail Nanjiani, Mary J. Blige and Timothée Chalamet. The festival also features panels and workshops.

This year’s fest comes amid the horrific toll in the region from the Thomas Fire, which scorched 280,000 acres in Ventura and Santa Barbara counties the past month, making it the largest wildfire in California history. The post-fire conditions led to last week’s mudslides in Santa Barbara’s neighboring towns of Montecito and Summerland, killing 17.

Festival director Roger D..

The Santa Barbara Film Festival has unveiled the lineup for its 33rd edition, which will run January 31-February 10 and feature 45 world premieres and 53 U.S. premieres. The already announced opening-night film is Emilio Estevez’s The Public; the fest is still being mum on its closing-night film.

Among the annual tributes this year are awards for current awards-season staples including Gary Oldman, Willem Dafoe, Saoirse Ronan, Sam Rockwell and Viruosos Awards to Daniel Kaluuya, Gal Gadot, Hong Chau, John Boyega, Kumail Nanjiani, Mary J. Blige and Timothée Chalamet. The festival also features panels and workshops.

This year’s fest comes amid the horrific toll in the region from the Thomas Fire, which scorched 280,000 acres in Ventura and Santa Barbara counties the past month, making it the largest wildfire in California history. The post-fire conditions led to last week’s mudslides in Santa Barbara’s neighboring towns of Montecito and Summerland, killing 17.

Festival director Roger Durling sent out an open letter today addressing the tragedy and why the SBIFF will go on as planned:

Dear Cinephiles,

Many people have been asking me if the Santa Barbara International Film Festival will take place. My answer is an emphatic “Yes.”

How do you do a film festival following the immense tragedy unfolding in Montecito and Southern California? Well – the honest answer is that it is needed now more than ever.

Movies have always provided a sense of community. It is an opportunity for people to gather – reflect – experience – feel – and process.

Throughout most of the 1930’s, during the Great Depression, Americans flocked to theatres. They did not do this because movies can be easily categorized as a distraction. Yes, audiences welcomed the chance to laugh, forget their problems, and get out of the cold – but most importantly – by going to the movies, audiences felt less isolated as they experienced emotions together. They were together.

As we move ahead with the film festival – and remember those we have lost and thank our first responders – we also want to help those who remain in need. To that end, we will be highlighting each day of our event the organizations that are working tirelessly to help those affected and encouraging attendees and our sponsors to support these efforts. We will keep you updated on our website on all of these details.

The Santa Barbara community built this film festival in 1986 – and their love and pride – grew into what it is today. Movies have always had an immeasurable power to heal. As Santa Barbara to recover, we welcome and encourage film lovers and visitors to gather around our strong, beautiful and resilient community.

I look forward to seeing you from January 31 to February 10.

Roger Durling

Here is the full lineup:

WORLD PREMIERE FEATURE FILMS

A Sniper’s War, USA, Ukraine, Russia
Directed by Olya Schechter

Acid Horizon, USA
Directed by Ivan Hurzeler

Broke: The Santa Barbara Oil Pipeline Spill of 2015, USA
Directed by Gail Osherenko

Chasing the Thunder, USA
Directed by Mark Benjamin and Marc Levin

The Doctor From India, USA
Directed by Jeremy Frindel

The End of Meat (Eine welt ohne fleisch), Germany
Directed by Marc Pierschel

The Independents, USA
Directed by Greg Naughton

Living in the Futures Past, USA
Directed by Susan Kucera

Making Babies, USA
Directed by Josh Huber

Metamorphosis, Canada
Directed by Nova Ami and Velcrow Ripper

My Indiana Muse, USA
Directed by Ric and Jen Serena

¡Oh Mamy Blue!, Spain
Directed by Antonio Hens

Off the Menu, USA
Directed by Jay Silverman

One Last Night, USA
Directed by Anthony Sabet

the public, USA
Directed by Emilio Estevez

The Push, USA
Directed by Grant Korgan

Scotch: A Golden Dream, USA
Directed by Andrew Peat

Silicon Beach, USA
Directed by Max Gold

Threesome (Le trip à trois), Canada
Directed by Nicolas Monette

Waiting for the Drop: Rise of the Superstar DJs, USA
Directed by Alexei Barrionuevo

The War in Between, USA
Directed by Riccardo Ferraris

We Are Galapagos, USA
Directed by Kum-Kum Bhavnani

The White Orchid, USA
Directed by Steve Anderson

U.S. PREMIERE FEATURE FILMS

3 Things (3 ting), Denmark
Directed by Jens Dahl

A Land Without Borders, Israel
Directed by Michael Alalu and Nir Baram

Adventures in Public School, Canada
Directed by Kyle Rideout

Before I Forget (Antes que eu me esqueça), Brazil
Directed by Tiago Arakilian

Beyond – An African Surf Documentary, Austria
Directed by Mario Hainzl

Beyond Dreams (Dröm vidare), Sweden
Directed by Rojda Serkersöz

Big Wata, Netherlands
Directed by Jan Paul Van der Velden

Bingo: The King of the Mornings (Bingo: O rei das manhãs), Brazil
Directed by Daniel Rezende

Black Kite, Canada, Afghanistan
Directed by Tarique Qayumi

The Butterfly Tree, Australia
Directed by Priscilla Cameron

Cardinals, Canada
Directed by Grayson Moore & Aidan Shipley

Catch the Wind (Prendre le large), France
Directed by Gaël Morel

Darling, Denmark
Directed by Birgitte Stærmose

Daybreak (Dita zë fill), Albania
Directed by Gentian Koçi

The Double Lover (L’amant double), France
Directed by François Ozon

Edie, UK
Directed by Simon Hunter

The Eternal Road (Ikitie), Finland
Directed by Antti-Jussi Annila

Euthanizer (Armomurhaaja), Finland
Directed by Teemu Nikki

The Faithful Son (La part sauvage), Belgium
Directed by Guérin van de Vorst

Fence Your Best, Israel
Directed by Liat Mer

Fifty Springtimes (Aurore), France
Directed by Blandine Lenoir

Filthy (Spina), Czech Republic, Slovakia
Directed by Tereza Nvotová

Get the Weed (Misión no oficial), Uruguay
Directed by Denny Brechner, Alfonso Guerrero and Marcos Hecht

Giant (Handia), Spain
Directed by Jon Garaño and Aitor Arregi

Grace and Splendor (Donaire y esplendor), Panama
Directed by Arturo Montenegro

Grand Cru, Canada
Directed by David Eng

Guerrero, Mexico
Directed by Ludovic Bonleux

Imposed Piece (Opgelegd Werk), Belgium
Directed by Brecht Vanhoenacker

In Love and In Hate (Los que aman, odian), Argentina
Directed by Alejandro Maci

The Island, Israel
Directed by Adam Weingrod

The Last Suit (El último traje), Argentina
Directed by Pablo Solarz

Maracaibo, Argentina
Directed by Miguel Angel Rocca

Mary Goes Round, Canada
Directed by Molly McGlynn

Meditation Park, Canada
Directed by Mina Shum

Modified, Canada
Directed by Aube Giroux

The Order of Things (L’ordine delle cose), Italy
Directed by Andrea Segre

Sad Hill Unearthed, Spain
Directed by Guillermo de Oliveira

Secret Ingredient (Iscelitel), Greece
Directed by Gjorce Stavreski

Soviet Hippies, Estonia, Germany, Finland
Directed by Terje Toomistu

Sunshine That Can Move Mountains, China
Directed by Qiang Wang

Star Boys (Kaiken se kestää), Sweden
Directed by Visa Koiso-Kanttila

The Swan (Svanurinn), Iceland, Estonia, Germany
Directed by Ása Hjörleifsdóttir

The Unseen (Los últimos), Argentina
Directed by Nicolás Puenzo

Unwanted (T’padashtun), Kosovo, Netherlands
Directed by Edon Rizvanolli

Wall, Canada
Directed by Cam Christiansen

While We Live (Mens vi lever), Denmark
Directed by Mehdi Avaz

NON-PREMIERE FEATURE FILMS

All You Can Eat Buddha, Canada, Cuba
Directed by Ian Lagarde

Angels Wear White (Jia nian hua), China, France
Directed by Vivian Qu

Arrhythmia (Aritmiya), Russia, Finland, Germany
Directed by Boris Khlebnikov

Back to Burgundy (Ce qui nous lie), France
Directed by Cédric Klapisch

Beartrek, USA, Canada, Indonesia, Peru
Directed by Chris Morgan & Joe Pontecorvo

Blue, Australia
Directed by Karina Holden

Borg vs. McEnroe, Sweden, Denmark, Finland
Directed by Janus Metz

Breath (Nafas), Iran
Directed by Narges Abyar

Dirtbag: The Legend of Fred Beckey, USA, Canada, China
Directed by Dave O’Leske

Elish’s Notebooks, Israel
Directed by Golan Rise

The Essential Link – The Story of Wilfred Israel, Israel
Directed by Yonatan Nir

Faces Places (Visages, villages), France
Directed by JR and Agnès Varda

The Future Ahead (El futuro que viene), Argentina
Directed by Constanza Novick

The Gospel According to André, USA
Directed by Kate Novack

Gutland, Luxembourg, Germany, Belgium
Directed by Govinda Van Maele

Holy Camp! (La Llamada), Spain
Directed by Javier Ambrossi & Javier Calvo

Hotel Salvation (Mukti Bhawan), India
Directed by Shubhashish Bhutiani

Icarus, USA
Directed by Bryan Fogel

In Syria (Insyriated), Belgium, France, Lebanon
Directed by Philippe Van Leeuw

The Insult (L’insulte), Lebanon
Directed by Ziad Doueiri

Just Like Our Parents, Brazil
Directed by Laís Bodanzky

Killer Bees, USA
Directed by Ben & Orson Cummings

Kim Swims, USA
Directed by Kate Webber

Leaning Into the Wind: Andy Goldsworthy, USA
Directed by Thomas Riedelsheimer

The Line (Čiara), Slovakia, Ukraine
Directed by Peter Bebjak

Love Means Zero, USA
Directed by Jason Kohn

Miracle on 42nd Street, USA
Directed by Alice Elliott

Montana, Israel
Directed by Limor Shmila

Nelson Algren Live, USA
Directed by Oscar Bucher

Oh Lucy!, USA, Japan
Directed by Atsuko Hirayanagi

The Party, USA
Directed by Sally Potter

Point of No Return, USA
Directed by Quinn Kanaly & Noel Dockstader

The Quartette (Kvarteto), Czech Republic
Directed by Miroslav Krobot

Racer and the Jailbird (Le fidèle), Belgium
Directed by Michaël R. Roskam

Scaffolding (Pigumim), Israel, Poland
Directed by Matan Yair

Scary Mother, Georgia, Estonia
Directed by Ana Urushadze

Skid Row Marathon, USA
Directed by Mark Hayes

Sky and Ground, USA, Serbia/Montenegro, Macedonia, Hungary, Greece, Germany, Austria
Directed by Joshua Bennett & Talya Tibbon

Something New (Qualcosa di nuovo), Italy
Directed by Cristina Comencini

Soufra, Singapore, USA, Lebanon
Directed by Thomas A. Morgan

The Starry Sky Above Me, (Le ciel étoilé au-dessus de ma tête), France
Directed by Ilan Klipper

Streetlight Harmonies, USA
Directed by Brent Wilson

The Third Murder, (Sandome no Satsujin), Japan
Directed by Hirokazu Kore-eda

Tulipani: Love, Honour and a Bicycle (Tulipani: Liefde, Eer en een Fiets), Netherlands
Directed by Mike van Diem

Triumph: The Untold Story of Perry Wallace, USA
Directed by Rich Gentile

Under the Tree (Undir Trénu), Iceland, Denmark, Poland & Germany
Directed by Hafsteinn Gunnar Sigurðsson

Wife and Husband (Moglie e marito), Italy
Directed by Simone Godano

You Disappear (Du forsvinder), Denmark, Sweden
Directed by Peter Schønau Fog

SHORTS FILMS
(22 world premieres, seven U.S. premieres)

72%, Spain – US Premiere
Directed by Lluis Quilez

Abroad, USA – World Premiere
Directed by Zayn Alexandar

Aeris, USA
Directed by Paul Castro Jr.

Afterwork, Spain, Peru, Ecuador – World Premiere
Directed by Luis Uson

The Artist & The Great Bear, USA – World Premiere
Directed by Jeff Mcloughlin

As Long As It Takes (Le temps qu’il faut), Canada
Directed by Abeille Tard

Audition, USA
Directed by Richard Van

Bargain, USA – World Premiere
Directed by Clifford Miu

Basha Man, China
Directed by Daniel Chein

Bigfoot’s Love Slave, USA
Directed by Heather Tom

The Cannonball Woman, (La femme canon), France, Switzerland, Canada – US Premiere
Directed by David Toutevoix and Albertine Zullo

Cascarón, USA – World Premiere
Directed by Casey McGarry

Catacomb, USA – World Premiere
Directed by Alex Z. Avila

Couch for Sale, USA – World Premiere
Directed by Takashi Doscher

Cowboy of Mount Laurier (Le cowboy du mont Laurier), Canada – US Premiere
Directed by Gabriel Vilandré

Crossing the Channel, USA – World Premiere
Directed by Ryan Slattery

Cuba: Music Revolution, USA
Directed by Juan Ponce de León

Dancing with Dragons, USA, Zimbabwe, New Zealand, Mexico, Belize
Directed by Mark Romanov

Don’t Mind Alice, USA – World Premiere
Directed by Maude Apatow & Olivia Rosenbloom

The Driver Is Red, USA
Directed by Randall Christopher

Field Song (Canción de Campo), USA
Directed by Brad Bischoff

Fern, UK – US Premiere
Directed by Johnny Kelly

Ferryman at the Wall, USA
Directed by David Freid

Fingerprints, USA
Directed by Don Hardy

From Golf Course to Wetland, USA – World Premiere
Directed by Michael Love

Hide and Seek (Bújócska), Hungary
Directed by Gábor Benő Baranyi

Home Shopper, USA
Directed by Dev Patel

Hybrids, France
Directed by Florian Brauch, Kim Tailhades, Matthieu Pujol, Romain Thirion and Yohan Thireau

Keep Calm and Tampon, USA – World Premiere
Directed by Claudia Lonow

Killing Games: Wildlife in the Crosshairs, USA
Directed by Camilla H. Fox

The Last Man You Meet, USA
Directed by Chris Bone

Long Term Delivery, USA – World Premiere
Directed by Jake Honig

Los Comandos, USA
Directed by Joshua Bennett

Lunch Ladies, USA
Directed by J.M. Logan

Mariela, UK
Directed by Victoria Romero

Martien, Switzerland
Directed by Maxime Pillonel

Me, My Phone and I, USA
Directed by Luke Mullen

Mott Haven, USA
Directed by Kyle Morrison

Negative Space, France
Directed by Max Porter and Ru Kuwahata

Online Shopping, Iran
Directed by Ghasideh Golmakani

Out of the Ashes, USA – World Premiere
Directed by Hallie Brown

Poles Apart, USA
Directed by Paloma Baeza

Phototaxis, USA
Directed by Melissa Ferrari

The Red Flag, USA – World Premiere
Directed by Mike Winger

RFLKTR, USA – World Premiere
Directed by Matt K. Turner

Santa Claus, USA
Directed by Jeff Man

Sequin, Taiwan – US Premiere
Directed by Yachi Yang

Siren Song: Women Singers of Pakistan, USA, Pakistan, and India
Directed by Fawzia Afzal-Khan

Shadow Boxer (Skyggebokser), Denmark – World Premiere
Directed by Andreas Bøggild Monies

Shark Bight, USA – US Premiere
Directed by Stephanie Foster

The Shift, USA
Directed by Elivia Shaw

Simularity, USA
Directed by Ryan O’Nan

Soul of the City, USA – World Premiere
Directed by John Klein

Souls of Totality, USA
Directed by Richard Raymond

Space Butthole, USA
Directed by David Chai

The Take Off, USA – World Premiere
Directed by Ryan Kalil

The Tesla World Light, (Tesla: Lumière Mondiale), Canada
Directed by Matthew Rankin

Tigerstyle, United Kingdom, USA – World Premiere
Directed by Elliott Powell, Jordyn Romero, Paloma Young, Rachel Lattin, and Riani Singgih

The Tipping Point, USA – World Premiere
Directed by Danielle Cohen

Toward the North (Hacia el norte), USA
Directed by Elivia Shaw, Jessica Chermayeff, and Joshua Bennett

Towards the Sun (Hacia el sol), United Kingdom
Directed by Monica Santis

Two Balloons, USA – US Premiere
Directed by Mark C. Smith

Under Her Wing, USA
Directed by Keenan McGuckin

Undiscovered, USA
Directed by Sara Litzenberger

Virtually Yours, USA – World Premiere
Directed by Andrea Lithner

Wildlife and the Wall, USA
Directed by Ben Masters

You Are Here, United Kingdom
Directed by Nicholas Jones

Yours Sincerely, Lois Weber, USA
Directed by Svetlana Cvetko

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Films

‘Antebellum’ has a ‘Get Out’ vibe, but doesn’t live up to its twist

“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definite..

“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definitely shouldn’t be spoiled even a little. Once that revelation is absorbed, however, the movie becomes less distinctive and inspired, reflecting an attempt to tap into the zeitgeist that made “Get Out” a breakthrough, without the same ability to pay off the premise.


Originally destined for a theatrical run, the movie hits digital platforms trumpeting a “Get Out” pedigree in its marketing campaign, since there’s an overlap among the producing teams.


More directly, the film marks the directing debut of Gerard Bush + Christopher Renz, who have championed social-justice issues through their advertising work. The opening script features a quote from author William Faulkner, whose intent will eventually become clearer: “The past is never dead. It’s not even past.”


If that sounds like a timely means of drawing a line from the horrors of slavery to the racism of today, you’ve come to the right place.

The story begins on a plantation, where the brutal overseers carry out grisly punishments against those tilling the fields. A few have just tried to escape, led by Veronica (Janelle Monae), and they pay a heavy price for their resistance, which does nothing to curb her defiance.

Also written by Bush + Renz, the script take too long before revealing what makes “Antebellum” different, but the middle portion — a “The Twilight Zone”-like phase when it’s hard to be sure exactly what’s going on — is actually the film’s strongest. (Even the trailer arguably gives away too much, so the less one knows, the better.)



The final stretch, by contrast, veers into more familiar thriller territory, and feels especially rushed toward the end, leaving behind a host of nagging, unanswered questions. That provides food for thought, but it’s also what separates the movie from something like “Get Out,” which deftly fleshed out its horror underpinnings.


Although the filmmakers (in a taped message) expressed disappointment that the movie wasn’t making its debut in theaters, in a strange way, the on-demand format somewhat works in its favor. In the press notes, Bush says the goal was “to force the audience to look at the real-life horror of racism through the lens of film horror. We’re landing in the middle of the very conversations that we hoped ‘Antebellum’ would spur.”


“Antebellum” should add to that discussion, so mission accomplished on that level. Monae is also quite good in her first leading film role (she did previously star in the series “Homecoming’s” second season), but otherwise, most of the characters remain underdeveloped.

In a theater, the tendency with a movie so dependent on a central mystery might be to become antsy. At home, “Antebellum” is worth seeing, not only because of what it has to say about America’s past and present, but as a reminder of the often yawning gap between an intriguing idea and a fully realized film.



Read from source: https://edition.cnn.com/2020/09/17/entertainment/antebellum-review/index.html

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‘Chemical Hearts’ director Richard Tanne on the film’s ‘bittersweet’ ending and what he hopes fans take away from the movie

“Chemical Hearts” director Richard Tanne spoke to Insider about the film’s “bittersweet” ending and ..

“Chemical Hearts” director Richard Tanne spoke to Insider about the film’s “bittersweet” ending and what he hopes fans take away from it.

“I think it’s gonna disappoint some people, and maybe all people on a certain level, ” the 35-year-old filmmaker told us. “It’s bittersweet. But that’s OK.”

The film, based on Krystal Sutherland’s 2016 book “Our Chemical Hearts” and now available to stream on Amazon Prime Video, centers on 17-year-old high school senior Henry Page (Austin Abrams), who finds himself drawn to a mysterious and secretive new transfer student named Grace Town (Lili Reinhart).

“Chemical Hearts” is told from Henry’s perspective, chronicling his first heartbreak after he falls in love with the person he thinks Grace is.

Tanne, who wrote the screenplay, said that he was impressed by how the story goes ‘a little bit deeper than your average teen romance’


“I loved how it embraced the dark side of being young, the pain and the grief and the loss, the idea of crossing the threshold from being an adolescent to an adult for the first time,” he told us.

By the end of the movie, Henry learns about Grace’s tragic past. On their last day of senior year, the characters don’t end up together. Instead, they prepare to explore different futures, with Henry heading off to a school for writing and Grace taking a year off to continue therapy.

Even though fans might be disappointed by the love interests splitting, Tanne said that ‘not everything has to be escapist’


“Sometimes, younger people watching movies don’t know that it’s OK to have unhappy endings because they’re fed a steady stream, a steady diet of escapist happily ever after movies,” he told us. “And that’s OK.”

He added: “There’s a place for those, I’m not knocking them. But I just wanted to make something that didn’t talk down to the younger audience. I wanted to make something that either meets them at their level or asks them to reach a little bit higher or dig a little bit deeper.”

Tanne said that having to confront that ‘bittersweet ending’ could also be useful to viewers


The director described the conclusion as bittersweet because “there’s hope at the end, maybe not for their relationship, but for other aspects of their lives.”

“Maybe it will be helpful for young people to see that and walk away with the same sting that Henry has, but to know that it’s going to be OK, to know that Henry will be OK,” he said.

Abrams, who was 22 when he filmed the movie, told Insider that hopefully, audiences will empathize with Henry.

“I think in terms of I supposed how he’s navigating relationships, I feel like hopefully at least anyone can relate to that,” he said.

Abrams told Insider that Henry and Grace’s relationship status at the end speaks to the film’s realistic nature


Abrams shared similar sentiments as Tanne, telling us that they tried to “portray the characters as honestly as possible,” which ties in to the conclusion.

“I think there are some people that meet one person and that’s who they’re with for the rest of their lives, who actually are Henry’s parents in the movie,” the 23-year-old actor told us.

“But then there are other people, and I think it’s probably a larger number, that are going to be in multiple relationships and some of them, a lot of them aren’t going to go well. I hope that that’s an aspect of the movie that people are able to relate to.”

Abrams added that he’s “perfectly fine” letting fans decide for themselves what their main takeaways are from “Chemical Hearts.”

“I hope that maybe they take away things that I didn’t even think of, because everyone’s different and at a different point in their life and hopefully will be able to relate to it in different ways.”

Read from source: https://www.insider.com/chemical-hearts-director-richard-tanne-bittersweet-ending-interview-2020-8


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Julia Sawalha furious after being told she is ‘too old’

Julia Sawalha has said she has been “plucked, stuffed and roasted” after being told that she would n..

Julia Sawalha has said she has been “plucked, stuffed and roasted” after being told that she would not be cast in the forthcoming sequel to the hit Aardman Animation film Chicken Run as her voice sounded “too old”.

In the original film, released in 2000, Sawalha voiced the lead role of Ginger, the plucky hen who inspires her fellow egg-layers to escape from a farm when they are threatened with being turned into pies. News of the development of a sequel first emerged in 2018, and Netflixs involvement was announced in June. It is due to be directed by Sam Fell (ParaNorman) and start production in 2021.

Sawalha posted a statement on social media saying she was told a week ago that she was not wanted for the sequel. “The reason they gave is that my voice now sounds too old and they want a younger actress to reprise the role.”

She added: “Usually in these circumstances, an actress would be given the chance to do a voice test in order to determine the suitability of their pitch and tone, I however was not given this opportunity. I am passionate about my work and I dont go down without a fight, so I did my own voice test at home and sent it to the producers … However, they stated, We will be going ahead to recast the voice of Ginger.”

Sawalhas protest follows reports that Mel Gibson, who voiced the character of daredevil rooster Rocky, would not be involved in the sequel. While Rocky is named as a character in the official plot synopsis for Chicken Run 2, the role is due to be recast. Variety magazine reported that Gibson was told that as “the sequel will revolve around younger chickens, therefore casting younger voice actors” was necessary. The report also claimed that Gibsons history of controversial behaviour, including an accusation of antisemitic comments by actor Winona Ryder, which Gibson denies, played no part in the recasting.

Sawalha added: “I feel I have been fobbed off with the same excuse … To say I am devastated and furious would be an understatement. I feel totally powerless.”

No official announcements have been made for the Chicken Run 2 cast, but original film cast members Jane Horrocks and Lynn Ferguson have been added to the films IMDb page.

Aardman has been contacted for a response.

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