Julian Michaels (Bruce Willis) has designed the ultimate resort: VICE, where anything goes and the customers can play out their wildest fantasies with artificial inhabitants who look, think and feel like humans.

When an artificial becomes self-aware and escapes, she finds herself caught in the crossfire between Julian's mercenaries and a cop who is hell-bent on shutting down Vice, and stopping the violence once and for all.

Directed by Brian A. Miller, and starring Bruce Willis, Thomas Jane and Ambyr Childers, VICE can be seen on Prima TV this Tuesday, May 31, at 20:00 p.m.

London Has Fallen is the sequel to the box office hit Olympus Has Fallen. The action takes place this time in London. After the British Prime Minister has passed away under mysterious circumstances, all leaders of the Western world must attend his funeral.

But what starts out as the most protected event on earth, turns into a deadly plot to kill the world's most powerful leaders and unleash a terrifying vision of the future.

The President of the United States, his formidable secret service head and a British MI-6 agent who trusts no one are the only people that have any hope of stopping it.

Directed by Babak Najafi, London Has Fallen can be seen on Pro TV on Saturday, January 15, 2022 starting at 20:00.

London Has Fallen is also available on Netflix.

Vodafone TV is the newest Vodafone service and offers access to quality content for the whole family, through the Vodafone TV mobile app, available for Android and iOS.

The Cinema option encompasses all kinds of films, for all tastes: from blockbusters, Romanian movies and independent films awarded at festivals, comedy series or dedicated TV channels.

In addition, with the Premium Option you have access to all movies and TV series, content for children, documentaries, as well as more TV channels.

Here are some of the over 100 Prorom titles available on Vodafone TV: The Brits are Coming, Taxi 5, Home Again, The Commuter, 24 Hours to Live, Fading Gigolo, Loving Pablo, Better Living Through Chemistry, Mia and the White Lion, Love is All You Need.

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Opt for the Cinema Package at only 1.9 euros / month (and you have a 1 month Bonus) or the Premium Package at only 2.9 euros / month for a complete experience.

Let's enjoy FILMS!

How did you get to do what you do now? Working in this area of animation?
I always wanted to make cartoons. When I was a kid, on Saturdays, at the end of school, I was running home to see final minutes from the Gala Desenului Animat  (Cartoon Gala – a famous Romanian show in th '90s). Then they took me to the Doina cinema. (in the past a famous Romanian cinema where they running only family films and animations). It was like I arrived in the cartoon country.

They had wallpapers of animals from the jungle on the walls, it was a small room and somehow intimate, weekly program where you could find full-length movies that you would see on TV only in the parts of a few minutes a week. What can I say? It was fantastic!

I've been drawing since I was little, and even tried to be a serious artist and to focus on things with more weight, respectable but I failed. When I entered the high school of arts and saw that they had the animation section I had no doubt. I didn't have to choose between sections. Things were no longer the same at the academy where there was no animation section.

Animation was not an art there, so I choose graphics and painting which was very useful to me later. But not to dramatize. I had a nice chance to work at Animafilm since I was in high school. That was practically the time when I was really inoculated with the animation virus and I say this because during my student years I tried to do other jobs but I always went back to animation.

A friend of mine, Olimp Bandalac told me: "Once you have got the animation virus you will not escape". And so it is for most of us.

Then I worked through almost all the studios in Bucharest in the '90s. But as I was young, inexperienced, those years were pretty gray. In the late 90's, after finishing college, I went to Hungary and that was it. After a year my girlfriend from then came with me. She became my wife after a few years.

What does the job of animation director and supervisor mean?
This position is a very responsible one and quite difficult from several points of view. Job descriptions can be found on the net but I tell you what it means to me and how I relate to this position. First of all you have to be an animator yourself. Only this way you can help where it is needed.

Every time I start a new movie I try to document myself as much as possible. What is the original story behind the script. Who are my directors, possibly the producers. After that I try to understand as best I can the script and the characters in the film. The deeper I get into the story, the better I realize the subtleties and layers of the film.

From here I start to have discussions with the director (the directors in this case of Latte) and to deepen the story and the characters. What kind of acting we need, as well as in what sense to exaggerate etc. Once it is clear to me what the directors want, I start working on the animation style, find a rhythm of the film, look for references by actors to help the animator understand the character.

Many times I even make a database representing what kind of expressions should be used and the limits of deformations. I can usually select the team after tests or portfolios. Once the team or teams are chosen, I usually do an acting workshop on the characters in the movie. I'm trying to make the animators understand why character X is moving like this and why it has to be different from other characters.

How a character evolves during the film and how important it is to animate as much as needed and where needed. Only then do I begin to talk about each sequence and each scene. If the animation is not correct I send additional drawings to the frame where something needs to be changed. As a simple supervisor the work is a little simpler, having to follow the instructions of the animation director.

How long have you been working as animation director and supervisor?
I think I started in 2009 or 2010 with a famous series in Germany. A production for preschoolers called Kikaninchen, a position assumed by Anca starting with season 2, becoming "kikaninchen's mother" over a few years.That's how they called it in Mitteldeutsche Zeitung in an article about the series. In the meantime, I started working on the first feature film as animation director in Belgium.

There I had the “baptism of fire”. We were working on a big film, produced in Paris and we had to send weekly a fixed number of seconds to a quality that we had not worked before. I learned a lot and realized that I still have a lot of work to do. It was a good school.

I know that before you settled in Germany you had a period when you also worked in Hungary? How was that experience?
In Hungary were the years of my growing up professionally or at least the beginning of them. We went through some experiences and we had the chance to qualify professionally, being forced to keep the deadlines, doing a large volume of animation and doing many tests. It was a good school.

You have worked on many successful animated films. What project do you keep closely to your heart and why?
I can't say I liked one movie... it's like asking a parent which of the children is dearer to him. I mean a good parent :-) Each production is different, and has its problems and solutions. Teams often differ completely. For example, now we are working on a new film by Enzo Dálo. For me 90-95% of the team is new. We will have first and foremost many young animators who will need a lot of advice. It will be fun and very interesting of course but it will be also a new adventure from which I will learn a lot.

Who has influenced you the most in your career?
Work in the studio. I learned a lot by watching a lot of movies and here I mention that not only animation and not only American. I read a lot and try to document myself a lot. BUT! I happen to work with people who are really big names in the field and and I can learn a lot from them.

I learned from Tahsin Özgür who animated for Disney in a few big movies. Another name that inspired me through the vitality of work and professionalism is Jesper Moller and in the last year and something I have worked and still work with Daniel St. Pierre from which I learned many details that you can not find in books. Of course, I learned something from each film I worked on and there are several names that influenced my evolution whether or not I was aware of it.

How much does working on a European animation differ from one for a larger studio? The difference is only about money, or also involves more special technology?
This is a good question :-) First and foremost, in Europe, there are increasingly competitive productions, by American standards. The only problem is the budget of the film. The bigger the budget, the more time you have to work on story, design, style, animation, effects, light... etc. The last film I worked on and we hope to release this year is an India-China co-production and is at a high standard. Here I worked hard on the quality of the animation and it will feel.

In 2019 you worked on the animation Latte & the Magic Waterstone as animation director. Can you tell me how you got to work on this project?
I first saw the trailer on the net. It was kind of love at first sight. I knew I could do a lot with a character like Latte. About 7-8 months, when I was approaching the final production of that time (Marnie’s World or Spy Cat) I announced online that I will be free of contract.

Then I received an email from a Belgian colleague from the production company if it is ok to recommend me to the German producer of Latte Igel. Do you realize that I was flying on a cloud and seeing the city from above :-) I said yes, I was contacted and that was it.

How did you work with directors Regina Welker and Nina Wels?
The collaboration with these two beautiful ladies was extraordinary. And I'm not exaggerating. I anchored Latte's acting based on the personality or the way Regina moves. The funny thing is that she says she moves the same way I do but you should see her. He is an animated character full of energy and humor.

After we had our first Skype talk, I was a little scared that we didn't quite understand about the message of the movie. That was my impression and I don't think it was that way, but I'm an emotional guy, so I belived that.

It was only when we met face-to-face in the studio I realized how they are and what they want… we started to know each other and actually worked on the construction of the film. We made many ideas exchanges and sometimes we argued about things, but in a constructive way, and all of that practically served to raise the quality of the film.

Nina helped me a lot with the team from Ludwigsburg and Halle / Saale, I also had to work in India. We had a total of 4 teams and fortunately all were talented and motivated.

Prorom will release on February 7 in Romanian cinemas Latte & the Magic Waterstone. Do you have a special message for the spectators who are going to see it?
Latte is a feel good movie, about friendship in the first place. You may be surprised that the story will catch you and you won't know when the time has passed. I just hope you like it as much as we liked to create it and bring it to the cinema. I look forward to the reaction of the Romanian audience.

Interview by Emanuel Lăzărescu.

In Who’s that Granny, the team behind the success We are Family is back for a new comic adventure!

After two years of living together as a happy family in their own apartment, the patchwork bunch of seven half-sisters and half-brothers are forced to split up and move out.

They reluctantly go their separate ways for summer vacation. But when little Gulliver gets sent alone to his eccentric Grandma Aurore, known for her penchant to party and zero parenting skills, the kids take matters into their own hands: they all show up at her house for the summer!

Life with Granny Aurore is anything but ordinary. She doesn’t cook, she goes out clubbing every night and never gets up before 2:00 pm. Looks like they’ve got to teach Aurore how to be a real grandmother. It’s a tough mission to take on, because Granny Aurore is a real tornado of energy and extravagance. But honestly, a grandma who can also be your best friend, doesn’t that sound like a dream?

In We are Family, the children were the ones who called all the shots. Did you expect the sequel to hand over that role to their "granny", meaning you?  
Chantal Ladesou:  I was totally surprised. Gaby (the director, Gabriel Julien-Laferrière) hinted to me that my role would be bigger this time, but not to the point of becoming the film's main character and having the honor of being in the title! When he had me read his new script, of course I was wildly happy about it! Not because "Granny" had snatched the star role from the kids, but because I got to play her again, and this time with the opportunity of fully exploring her imagination and complexity. And I also have to admit, it was the first time anyone offered me the lead role in a film. After about thirty films playing supporting roles, my little acting ego got a great boost!

Did the responsibility of taking on the title role of a movie frighten you?
If I had parachuted from out of nowhere, into totally foreign territory, I probably would have really flipped out. But in this case, since I already knew the crew and my character, everything was smooth and easy. I took being promoted to this "granny" as a stroke of luck. I don't get to have that much fun with a character in a movie very often.   

Why did you say yes to being in the first film of this adventure?  
I loved the story of this separated and remixed family. At first sight, everyone blended together in a pretty random way, as emotional impulses surfaced. The screenplay was well-structured, and at the same time funny, looney, empathetic and warm, just like a lot of "Benetton" families I know! What I also liked about it is the way it turned the world upside down:  faced with the adolescent immaturity of their parents, the children were the ones who took control and decided to live together in the same apartment. In the middle of that joyful bazaar, my eccentric granny character delighted me. The part wasn't very big, but I liked its craziness and freedom. Acting-wise, it was as great as it promised to be.  

Besides your role, what made you so thrilled about the sequel?
First, the script. Even if it doesn't have the same structure as the first film - which is actually a good thing! - I also thought it was well-constructed. At first, with all those little scenes about these blended families going to various places on vacation with their children, it seems scattered, like a patchwork, multicolored and cool. And then it gets tighter, brings together its little group and closes up like an umbrella. That "centrifugal" construction seemed to be smart as well as charming. Besides that, I was happy to get back together with that "family" of actors, adults and children alike. The adults because in addition to being "aces" on set, they are all exquisite and funny human beings. The kids because each one is endearing in their own way.

They say that acting with children can turn into a nightmare.  
It's true that it can be a hellish exercise:  children get tired fast, their powers of concentration can be short-lived, they don't always respect the "blocking" and acting can bore them quite quickly. It's very hard to get a kid motivated again when he's lagging or doesn't want to do another take.  

So it was pretty logical that when I imagined myself faced with seven kids of all different ages, no matter how much I wanted to do it, I was a little uneasy about shooting We are Family. My fears soon disappeared. All seven behaved like real pros. Gaby had done a good job getting them ready. He'd taken them all out to the countryside. Not to rehearse, just so they could get to know each other and become friends. Between the water fights, pillow fights and all the rest of the tomfoolery, night and day, it made for a pretty raucous weekend. But the seven of them had bonded. On set, coached and managed by Karin Catala, a woman who is gentle, yet energetic and motherly, not only were they extremely disciplined, they also really worked together and were very respectful of everyone. Some of them even came and asked us for bits of advice, which they followed so carefully it was touching. After shooting the first film, which had gone smoothly for the whole team, the little troop kept in touch, so getting back together for Who's That Granny?! was a real joy. The only difference was that the kids had grown up and Gulliver (Sadio Diallo) and I had been promoted!

Do you still identify with the granny you left behind two years ago?
Yes, her personality hasn't changed a bit. She is just as extravagant and independent as ever. But now that she's front and center, she progresses in plain view. Beneath her eccentricity and lifestyle, which seems so rebellious, you discover an amazingly powerful woman. Besides succeeding in bringing everyone together, she has her own special way of taking the children under her wing, helping them to break out of their cocoons and overcome their fears, which fuels that really symbolic sequence I love so much, jumping into the water from the top of the cliff. In the second film, it's not the granny who's changed, it's the children who have grown up and become even more reasonable, as well as the parents, who have become more mature as they have aged and now take their educational role more seriously.

What do you, Chantal Ladesou, have in common with this "granny"?  
A lot of things:  exuberance, joy, sarcasm, a touch of madness, the absolute necessity of feeling free, and also being sensitive and affectionate to the point of not being able to express it sometimes. The only thing we don't have in common is her promiscuity. Not only am I very prude in that respect, but I've been married for 47 years to a very jealous man who wouldn't tolerate me even lifting a finger! And that's mutual, actually! (laughs) But to get back to my granny, I'm probably a little more traditional in my daily life than she is. I dress more conservatively and my behavior is less eccentric. I reserve my extravagance for the stage, which is the only place I allow myself to do nearly anything.

Are you also the kind of actress who sticks to the script?   
In the theater, especially in my "solo shows", I like to indulge in little verbal digressions. But in films, even if I let myself go sometimes, I generally stay on track with the script, especially if the dialogue is good. For this film, as well as the previous one, I was lucky:  Gaby had tailored my dialogue for me. I had some fabulous lines, like "Don't call me granny, it gives me wrinkles!" When you have lines like that to deliver, you don't change a single comma. The comic impact they have is equivalent to a rocket ship!

For you, what's the difference between acting for theater and film?
In theater, there is immediacy. You can't go back, so too bad if you screw up! But you can pace around freely - for example, leave the stage and join the audience. It's a lot of adrenaline, but it's also a source of stimulation that I have a hard time doing without for very long. Movies give you a different feeling. Lighting, timing, blocking - everything has to be spot-on. You project your voice less, the acting is more internal, you look for precision. I like the discipline, it makes me focus. The only thing that annoys me is when we have to redo takes. I feel like I'm losing simplicity and spontaneity.

Who do you think Who's That Granny?! was made for?  
For everyone. It's a bright, energetic family comedy that gives some good advice for life and brings along lots of wonderful values, such as mutual respect and accepting differences. My husband really liked it, and so did my daughter, which proves that it's intergenerational. Of course, they're not in the least bit biased!

Are you, Chantal Ladesou, a granny in real life?  
Yes, but my grandchildren aren't as old as my character's grandkids are. My grandson is three and my granddaughter is only one. It's too bad, I'll have to wait a while before showing them the movie!

Jesse Eisenberg and an almost unrecognizable Alexander Skarsgård play cousins Vincent and Anton Zalesky in acclaimed director Kim Nguyen's The Hummingbird Project.

Cousins from New York, Vincent (Jesse Eisenberg) and Anton (Alexander Skarsgård) are players in the high-stakes game of High-Frequency Trading, where winning is measured in milliseconds. Their dream? To build a straight fiber-optic cable line between Kansas and New Jersey, making them millions. But nothing is straightforward for this flawed pair.

Constantly breathing down their necks is their former boss Eva Torres (Salma Hayek), a powerful, intoxicating and manipulative trader who will stop at nothing to come between them and beat them at their own game.

Directed by Kim Nguyen, The Hummingbird Project stars Jesse Eisenberg, Alexander Skarsgård and Salma Hayek.

The Hummingbird Project had its world premiere at the Toronto International Film Festival on September 8, 2018, and was the opening gala at the Vancouver International Film Festival later that month.

Recently The Hummingbird Project won at Canadian Screen Awards the Award for Achievement in Overall Sound (Pierre Mertens, Thomas Gauder, Alexis Oscari).

Prorom released The Hummingbird Project in Hungary on April 4.