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FILMING

AT

THE

MOUTH

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WELCOME TO
FILMING
AT THE
MOUTH

Filming at the Mouth is a Miami-based non-profit film production studio & website focused on highlighting cinematic achievements, telling authentic stories, and supporting passionate independent artists. Films produced by our studio have been featured at esteemed film festivals including Miami Film Festival, Cannes World Film Festival & Fort Myers Film Festival.

AEROJET tEASER

An experimental documentary film
Winner of the best cinematography award at the 2023 miami film festival

Film

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AEROJET Premieres at Fort Myers Film Festival

AEROJET wins award for Best Cinematography at the 40th Miami Film Festival

TAR Review & Analysis

Production is Complete on Black Mirror Season 6 - What We Know So Far

Are End-Credit Scenes Bad for Cinema?

Why the Live-Action BARBIE Movie Will Probably Be Great

PUBLISHING & MOVIE NEWS

PUBLISHING

Photography

Wildlife

Top Reviews

Decision to Leave

Disturbingly wholesome and blissfully deranged, Julia Ducournau’s Titane is an expectation obliterating view of a female serial killer’s journey through automobile copulation fused with the desire for family and human connection, inevitably revving up to a somehow heartwarming conclusion despite being the spawn of pure uncompromised derangement. From the opening moment our protagonist with a titanium cranium ‘throttles’ a fiery muscle car, Ducournau’s confident direction is on immediate display as she further establishes herself as one of the most innovative minds in the genre. Filled with themes of gender identity especially in relation to gestation that I’ve yet to fully unpack. A subversive and vile Hydra of a film, with so many heads all reliant upon eachother. I’ve yet to (and won’t) mention the biggest Cronenberg-esque kicker this film has to offer, but with such an intense narrative revolving around cars and family, Fast and Furious 10 has its work cut out. 9/10

EEAAO

The most unique & separating film of Edgar Wright’s filmography, much like Roman Polanski’s Repulsion (1965) Last Night in Soho at its core is a tragic fantasy-mystery through literal dreams, and the social exploitation of figurative dreams, using a POV lens to portray the anxieties of being female & alone in an idealized city (or anywhere), the stress of everyday life in a world where any man could be a woman’s next antagonist & all the small objectifying remarks and discomforting glances in between. For all of its fictional horror elements, Last Night in Soho is most terrifying at its most pragmatic. Less social commentary, more visual representation of how systemically uninhabitable & uncomfortable the world can often be for women. The first two acts absolutely transported and mesmerized me, (an hour in I thought this might be a 10/10) the third act had some spoon-fed aspects which felt like they trivialized some of the film’s themes but simultaneously served a satisfying conclusion. Can’t say much else without spoiling. With every film, Edgar Wright steps further out of his comfort zone and the craftsmanship here is simply on another level entirely, Last Night in Soho is visually astonishing, I had goosebumps even within my deepest darkest crevices. The way Wright innovates every genre he touches, always driven by music, is incredible. I was captivated for every moment. 9/10

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Email: FilmingAtTheMouth@gmail.com

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