Om Mig Själv -Agnes Magnell! 2021

 Sailor- Mars!

Smeknamn: – Brea – Gelfling, Prinsessan.

Jag blir kallad för Gullisfis, Prinsessan och gullegroda, min lillla fiskorv, och fantasi-älskare och the dark-crystal, Brea- Gelfling, Harry Potter, Hermione Granger, älskare, tanten, barbie – älskaren, mellofreak, väsk – besatt, snyltrots – växt och min gulliga hjärtat, Rosenknopp.

Hårfärg: – Mellanblond.

Jag har haft mellanblodt hår och hade väll lugg ca 12 år. Cendrefärgat, och när mina topparna är slitna så hjälper min mamma att klipper mitt hår lite gran. När jag tvättar mitt hår så använder jag head and shoulders – schampo och Barnängen Balsam – pärlglans.

ögonfärg: – Bruna.

Jag har mandel – fromade mellan brunda ögon, choklad- färgade ögon. Min lilla söta hund Moltas har bruna ögon, min pappa och min storebror Max har också bruna ögon.

Kön: – Kvinna.

Personligheter: – Mina personligheter är underbara, vänlig, älskvärd, envis glad,

 

 

Mer om Karaktären Prinsessan Brea Gelfling.

The most beautiful desert flowers are always the most dangerous.

-Rek’yr to Brea

Brea was a Gelfling princess of the Vapra Clan and the youngest daughter of All-Maudra Mayrin.

Age of Resistance

Home

Ha’rar,

Era(s)

Age of Division

Species

Gelfling

Gender

Female

Hair color

White

Eye color

Amber

Skin color

Tortilla

Clan

Vapra

Occupation

Princess of the Vapra Clan

Affiliation

Gelfling resistance

Pronunciation

Bray-AH

Voice

Anya Taylor-Joy

Puppeteer

Alice Dinnean

 

Biography

Joining the resistance

The third daughter of Mayrin and an unidentified father, possibly Kam’lu. When skekLach the Collector and skekOk the Scroll-Keeper arrived in Ha’rar for the tithing ceremony, Brea’s older sister Tavramanaged to get her included in the ceremony, much to her delight, asking only that Brea not embarrass her or ask the Skeksis questions. Heedless, Brea sought them out anyway, and ended up sprawling in front of their carriage as she pushed through a crowd. SkekOk however was surprisingly merciful, and insisted on her accompanying him in his carriage, where he shared his passion for books with her. Brea later hugged skekOk for interceding with her mother, the All-Maudra Mayrin, but began to question the Skeksis when they manipulated poor farmers into giving up precious heirlooms. When she examined the legal texts of tithing and found it immoral, her Librarian tried to take away her books, so she fought until some magical light began to stream from the book. Although she tried to tell her mother what happened, she became disgusted to see that she wore the farmer’s amulet, as the Skeksis gave it to her after taking it, and stubbornly argued with her mother that they should even give all of their wealth and privileges to others.

Brea sought more answers, using the Librarian’s reluctantly-given advice to seek out the Sifa for knowledge about the symbol she saw. However, Elder Cadia attempted to give her powdered nulroot, something Brea knew to induce amnesia. Dropping her money as a distraction, Brea swapped the drinks so that Cadia would drink it. Eventually he became enraged when she revealed this, until Onicaknocked him out with a bowl and offered to help Brea if she would get Mayrin’s brightest jewel for her. However, Mayrin ordered Brea sent to the Order of Lesser Service in payment for her crime against the Sifans, on Seladon’s suggestion.

Consigned to the service, Brea was made to wear a clown’s hat and to wash filthy Podlings who resisted all the while, her indenture intended to be an entire trine in length. Although Duadran ordered her to run after a fleeing Podling, she decided to flee the service due to the urgency, tossing her hat away. Although she was caught by her sister Tavra, Tavra let her go, reassuring her and saying that the “bonds of sisterhood” could not be broken. Brea continued to Ha’rar, through the library, and flew from the top of it to the palace so that she could recover the “brightest jewel” in her mother Mayrin’s chambers, hanging from the ceiling. Brea then went to meet Onica, thinking the jewel to be payment, but Onica chastised her and sung to the jewel; it is in fact a chrysalis, a container for an imperial unamoth, which began to move. Brea spoke her desire to know the truth to the moth, which then emerged from the chrysalis and flew toward the Ha’rar throne room. Brea flew behind it, and when they arrived in the throne room, the moth activated a hidden passage through the throne itself into a hidden chamber.

Entering the hidden chamber, Brea discovered a circular room with seven symbols, one for each clan. Given that the inscription above the entrance said “Thra’s true balance will be found when natural order is sound”, Brea assumed that she must activate each symbol in order according to each clan’s social rank. Although initially seeming to succeed, with sound beginning to reverberate with each successful clan chosen, the sound vanished when Brea selected Sifa as the third clan. Brea eventually realizes that the entire puzzle is a farce, that the engineers wanted all clans to be treated as if they were equal, which successfully solved the puzzle and resulted in Lore being constructed out of rocks in the center of the room. Lore explained that it would protect Brea and guide her to the Circle of the Suns, but they were interrupted by the arrival of Seladon, who only heard it speaking heresy about overthrowing the Skeksis.

Berated by Seladon over wiping Elder Cadia’s memory, deserting the Order of Lesser Service, and conspiring to overthrow the Skeksis, Brea accused Seladon of only caring for the throne of All-Maudra before the pair were interrupted by the arrival of Mayrin. Although Mayrin accused Brea of insulting her and tradition, Brea asserted that she values truth and knowledge, convincing her mother to at least see the hidden chamber and listen to Lore. Upon entering, Brea introduced Mayrin to Lore, and Mayrin then dreamfasted with Brea to learn how Brea found the chamber. Rather than dreamfast normally however, Brea suddenly found herself in the Dream Space, shocked to see the Crystal cracked. Aughra hushed Brea, introduced the rest of the Gelfling present, banished Seladon after her outburst and then finally brought Brea before the Crystal where the Skeksis’ crimes against the Gelfling were revealed to her. Afterward, Aughra ordered Brea to travel with Deet, Rian, and Lore to the Circle of the Suns and, after issuing further orders, Aughra returned Brea to her body. Brea then followed Mayrin to confront skekVar and skekZok, picking up Deet and Hup along the way, and then watched skekVar slice Mayrin’s stomach open with a saber just as she gained her courage. Devastated and standing over Mayrin as she bled to death, Brea became even more distraught when Seladon blamed Brea for Mayrin’s demise, sobbing into her corpse and pleading with Seladon to reconsider. Unmoved, Seladon ordered Brea to be imprisoned, and then to be transferred to the Castle of the Crystal with skekVar and skekZok.

Brea was then escorted by paladins to the Skeksis carriage, and although she accused skekVar of murder and openly defied him, she was nonetheless placed in a cage attached to the carriage, which set off toward the Castle. En route, the carriage was ambushed by Rian, and Lore freed Brea from the cage and frightened the Skeksis away. Happy to be free, Brea hugged Rian and sent the other paladins away to spread word, but soon broke down with remorse for her mother Mayrin, distraught that she could not perform ceremonies for her. Deet reassured her that they would perform the ceremonies in the Crystal Desert, the group singing a dirge in Old Gelfling for her, which Brea greatly appreciated. When Rek’yr arrived offering help, Brea quickly accepted, asking him to take them to the Circle of the Suns (albeit with coaxing), ignoring Rian’s protestations about Rek’yr being Dousan.

Arrival at the Circle of the Suns.

Brea urges Lore to awaken

After being dropped off by Rek’yr, he once again attempted to dissuade Brea from going to the Circle of the Suns before departing. Brea continued on despite his warnings, and when Lore attempted to carry her to the summit of the Circle when a sandstorm threatened them, Brea insisted that Lore carry everyone. At the summit, Brea was introduced to skekGra and urGoh, and she hugged Lore before skekGra deactivated him. Frustrated at skekGra and urGoh taking so long to get to the point during their performance, Brea was roused out of sleepiness when skekGra finally explained how the urSkeks arrived on Thra, took the Crystal from Aughra in exchange for an orrery, misused it to the point of dividing themselves into Mystics and Skeksis, shattered a single shard from the Crystal in their confusion, and that the Dual Glaive could be used by a Gelfling to unite the seven clans, defeat the Skeksis, and unify the two races into the urSkeks once more. Unfortunately however, skekMal arrived and attacked the party, Brea rushing to reactivate Lore so that he could defend them. Just as Lore began to assemble himself, skekMal arrived in retreat from the Archer’s arrows. He snatched Brea up and knocked the activation device away from Lore, who was reduced to simple rubble again, and escaped with Brea on Bennu. Brea only managed to scream for Rian to “find the glaive!” and to drop her journal for Rian to recover.

Brea was brought by skekMal to the Castle of the Crystal in a cage, and then subsequently moved by skekOk into a prison cell while they ministered to skekMal’s wounds. Seladon, in another cell, blamed Brea for their situation until Tavra arrived, and the Ascendancy spoke through her, saying the age of the Gelfling had come to an end.

Pleading with Tavra to stop, Brea was bound and gagged by Tavra to be drained for skekMal’s healing. Brea was only spared when Aughra bargained her own essence for the Gelfling’s release. Tavra then departed to hunt skekVar after wounding him, and Brea caught up with Tavra, Brea found her gravely wounded. Brea and Seladon carried Tavra away, and tending to Tavra when she succumbed to her wounds. As Tavra lay dying, Seladon apologized for all her wrongdoings, and their relationship mended even as Tavra died, both sisters mourning together. Afterward, Brea heard Rian’s message from the unnatural fires caused by the Dual Glaive’s reformation.

Second Battle of Stone-in-the-Wood.

Brea arrived in Stone-in-the-Wood with the rest of the company, and after receiving her journal back from Rian, participated in the battle beside her sister “for mother”. Brea took to the air and dropped bombs all around the Skeksis, eventually landing and briefly dueling with skekOk until skekMal arrived and took Rian. Brea tried to intimidate skekMal into stopping, but to no avail until skekMal’s urRu half, urVa the Archer, killed himself and skekMal with him. The other Gelfling Clans then arrived, and Deet slew skekLach, routing the Skeksis and resulting in a Gelfling victory that Brea celebrated. Eventually, Brea noticed the Shard of the Division amidst the shattered ruins of the Dual Glaive, and realized that it was the true key to ending the Skeksis’ power, not the weapon.

Personality and traits 

Brea writing a journal entry

As the youngest daughter of the All-Maudra, Brea was not expected to inherit her mother’s crown, and was thus not entrusted with any major function in the Citadel other than appearing at ceremonies. This lack of responsibilities allowed Brea to indulge her insatiable curiosity, spending most of her free time in the Vapran library.

Enamored with books, Brea had by the eve of the Gelfling resistance become something of a polymath, having self-educated herself in numerous fields such as botany, medicine and history. She had a particular interest in knowing the origins of the status quo, so much so that the Librarian compares her to a Sifan. However, her knowledge was stifled by the censorship imposed by the Skeksis, knowing nothing of the Great Division and believing the urRu to be a myth.

Much to the frustration of her mother and eldest sister, Brea had little regard for ceremony or hierarchy, habitually disobeying or forgetting instructions if they got in the way of her quest for knowledge. Her innate sense of social justice also put her at odds with the Skeksis early on, seeing the obligatory tithing ceremonies as an attempt to keep her people divided and impoverished. This sense of integrity was such that she was willing to sacrifice her rank and books if it meant creating a more equitable society.

 

Karaktärerna Prinsessan Brea Gelfling.

Voice

Anya Taylor-Joy

Puppeteered by

Alice Dinnean

Full name

Princess Brea

Other names

The Vapran Princess
Princess of the Vapra Clan
Sister (by Tavra and Seladon)
The All-Maudra’s Youngest Daughter
Clever Princess (by SkekOk)
Hero of Thra
Little One (by Tavra)
Little Sister (by Tavra)
Youngest Daughter of the All-Maudra

Personality

Outspoken, adventurous, curious, stubborn, brave, caring, sisterly, selfless, defiant, humble, disrespectful (formerly), impatient

Physical Appearance

Gelfling around her teens, hazel eyes, fair skin, long platinum blonde hair with a couple of braids, a gold circlet, a long-sleeved powder blue dress with a pink slip on sleeves over her sleeves and a gold leaf pendant on the chest, dark blue boots

Occupation

Princess of the Vapra Clan

Alignment

Good

Affiliations

Vapra Clan
Gelfling Resistance

Goal

To end the Skeksis’ rule over Thra and unite the Gelfling clans

Home

Ha’rar

Relatives

Mayrin † (mother)
Seladon (older sister)
Tavra † (older sister)
Kam’lu (Father)
Seladon I (maternal grandmother)

Allies

Rian, Deet, Hup, Lore (best friend/protector), The Librarian, Aughra, SkekOk (formerly), Onica, Cadia, Gurjin, Naia, Kylan, Red-Haired Paladin, Rek’yr, Seladon, Tavra, Fara +, Argot, Laesid, Mera, Seethi, Ethri, SkekGra, UrGoh, UrVa, Daudran, Juni

Love interest(s)

Rek’yr (possible crush)

Minions

Paladins of the Vapra clan

Enemies

Cadia (briefly), Seladon (formerly), Arathim(formerly), skekSo †, skekSil, skekLach †, skekVar †, skekAyuk, skekEkt, skekZok, skekTek, skekOk, skekMal, Gruenaks

Likes

Books, reading, spending time in the Library, adventures, her friends, innocence, knowledge, her idol SkekOk (until his betrayal when captured by SkekMal), learning more about the Skeksis (formerly), asking questions

Dislikes

Being told what not to pursue, giving up, the Skeksis rule, not being believed in, threats to Lore or her friends, fighting with her family, her mother and sister’s murders, her friends in danger, SkekOk’s betrayal

Powers and abilities

Dreamfasting
Flying
Retractable wings
Longevity

Paraphernalia

Her journal
Sword
Shard of the Crystal of Truth

Fate

Survives the battle with the Skeksis and discovers the Crystal Shard

Quote

“No. It was real.”
“I am Brea, youngest daughter of the All-Maudra.”
“You will never silence me!”

I always have questions.
―Brea

Princess Brea is one of the three main protagonists of Netflix’s The Dark Crystal: Age of Resistance (along with Deet and Rian). She is the daughter of the All-Maudra Mayrin and the younger sister of Seladon and Tavra.She, Rian, and Deet bring together all seven of their clans in an attempt to start a rebellion against the Skeksis and learn the true extents of their power and save the world.

Background.

Brea is a Gelfling Princess of the Vapra clan who lived during the Age of Division. This was before the Skeksis ordered the execution of the Gelflings. She was is the youngest daughter of Mayrin, the All-Maudra of the Gelflings. She bores of the royal life and prefers to read the books and remain in the library of Ha’rar. This signifies she has a fascination with history and a love of books and craved adventure.

Personality

Brea was a very intelligent and clever Gelfling who would mostly hang out in in a library rather than attend her duties as a princess. Though she finds her studies as a princess tiresome, she wishes to go out into the world by joining Rian and Deet to spark the rebellion against the Skeksis.

She could not get along with her eldest sister, Seladon. However, according to Tavra, they are actually quite similar, being that they are both stubborn and have a complicated relationship with each other. However, after the death of their sister, Brea and Seladon fully reconciled because they are all the family they have left.

She also cares deeply for Deet, Rian, Hup, and Lore over their journey.

Physical Appearance

Brea is about the age of a human teenager, with fair skin, pink lips, hazel eyes, and long platinum blonde hair with two mini-braids. She used to wear a circlet to signify her status as a princess and had an elegant light blue, long-sleeved dress that was covered by a pink overall dress. At Order of Lesser Service, Brea was forced to wear a shorter dress and a dark blue and dull mustard yellow jester hat that had two bells that jingled as she walked. However, she discarded the hat as soon as she left the Order of Lesser Services.

Unlike her dress when she was in her royal duties, Brea’s second dress had the same blue color, sleeves and design, except it was shorter. Her pink overall dress was replaced with a vest and she wore pink, arm sleeves that went from her wrist up towards her elbow over her long sleeves and she wore blue-gray boots, as well as dark leggings.

Powers and Abilities

  • Retractable Wings
    • Flight: Revealed in the prequel, unlike Kira, who could only use it to slow her falls, Brea can fly with her wings and slow down her falls when she jumps down from tall heights.
  • Gelfling Magic – Brea has powers and abilities just like other Gelflings
    • Dreamfasting: Brea can share her memories and thoughts with other Gelfling and vice versa whenever she is in physical contact with other Gelflings by touching hands. When she dreamfasted with her mother, they were summoned by Aughrato the Dream World and was able to communicate with her and her other friends, even though they were in different parts of the world
    • Longevity – As revealed in The Power of the Dark Crystal, Gelflings can live for centuries, as with Jen and Kira. It possibly means that Brea ages the same rate as they do and is at the equivalent of a teenager.
  • Knowledge: Brea spends time in the library and has grown with vast knowledge.
    • Writing
    • Excellent Memory: Brea has excellent memory, being able to remember what the Auryale looked like.
    • Reading Books: Brea was capable of reading piles of books and learn so much.
    • Drawing: Due to having a journal, Brea can be an excellent drawer as she drew the symbol of the Gelfling Clan that she witnessed in the library.
    • Translating: Brea is able to translate ancient Gelfling runes, which is what she did before she met Lore.
  • End. Begin. All the Same.

    Age-of-resistance1x01 0053.jpg

    Brea is introduced as the care-free princess and the youngest daughter of the All-Maudra Mayrin and allowed to spend her times in the library with the Librarian as her only companion. As she is reading, Brea asks if the Librarian has all the books she requested, he realizes he didn’t get all the books she wanted and goes back to retrieve the ones she needs. Suddenly, Brea’s second eldest sister, Tavra approaches and as Brea shows her sister things she found interesting and her illustrations of the mother of Thra, Mother Aughra. However, Tavra reveals that she is here for a serious matter: the Skeksis are coming to the tiding ceremony, and informs her younger sister that their mother is allowing her to attend, much to Brea’s delight and wants to ask all the questions she wants to the Skeksis. However, Tavra advises her against it, as the Skeksis hate answering questions and insists they will be late if they delay any longer. Brea takes her book and says she will ask at least one question.

    Brea, SkekOk and SkekLach.jpg

    When she and her sister make their way to the castle, Brea hears that the Skeksislords are there and separated from Tavra. She ran out towards the street but is nearly squashed by the Skeksis’ carriage. SkekOk exits out of the carriage and warns Brea to be careful next time lest she be squashed. When he overhears the people whisper about her and call her “Princess,” SkekOk instead invites her to ride with them. Grateful, Brea takes his invitation and is allowed in the carriage as other people begin whispering that she is blessed to travel with them.  Brea is introduced to skekOk’s companion, skekLach, and Brea begins to bond with SkekOk about knowledge and books while also wishing to take a look at his library. However, SkekLach, annoyed with his companions, discourages Brea against questions, as they can be very dangerous, SkekOk brushes his fellow Skeksis off and tells Brea that skekLach was never beautiful. Arriving at the All-Maudra’s palace, Brea finds that her mother is crossed with her and ashamed, Brea joins her sisters’ sides. Seladon scolds Brea and tells her that their mother will send her to the Order of the Lesser Services if she continues this behavior. Brea in turn tells her sister that Seladon is just jealous that she got to ride in the Lords’ carriage and Seladon did not.

    Brea sees the Auryale in the sky.

    During the Tiding Ceremony, Brea watches as the Skeksis are appalled by how small one of the Gelfling farmers and his wife’s tidings are. Brea insists that it is not fair, but Brea is denied all her thoughts by Seladon and Tavra. After the tidings ceremony, Brea goes to the library for more research about the Skeksis and when the librarian catches her, he attempts to dissuade her from looking any further. When Brea snaps she must know the truth, suddenly a magic force came from a book and wreaked havoc in the library, causing the librarian to retreat. As Brea stayed, a symbol formed before her eyes and ran to her mother’s quarters. Tired of the day, Mayrin attempted to defect Brea’s claims and said she read to many stories. However, Brea assured her mother this was real and wanted to dreamfast with her to show Mayrin the symbol she saw. However, Brea stopped when she saw her mother was wearing the necklace that the Skeksis had taken from the farmer and his wife. The duo begin arguing but Mayrin stops the fight. She tells Brea to start acting like a princess by attending meetings and attending to royal duties. Brea takes the necklace the Skeksis stole and gave it back to the farmer’s wife

    Nothing Is Simple Anymore

    Age-of-resistance1x02 1420.jpg

    Curious about her symbol, Brea sought for more answers, and went to the Sifan clan, under the reluctant given advisement of the Librarian, because they were knowledgeable when it came to symbols. The librarian took her to see the village Elder, Cadia, who welcomed Brea but dismissed the Librarian. When Brea showed Cadia her symbol, he lied to her and told Brea that it symbolized the end of everything. He later attempted to give her powdered nulroot, known for its memory loss enducing properties, and lied, telling her that it would connect them to the Dream Space. However, Brea read all about nulroot and dropped her money. While Cadia and his assistant Onica picked up her money, she swapped the drinks, so this time, Cadia would drink it. He became enraged when Brea revealed she had switched the teas and grabbed onto her. Brea yelled for him to release her when Onica took a nearby jug and knocked Cadia out when he wouldn’t release her. Onica promised to help Brea read her symbol, because it is not just a symbol for the end of everything, but the beginning as well. She tells Brea to find the brightest jewel in her mother’s throne. When Cadia woke up, he had lost his memory, causing Brea to see that she was in so much trouble. When Mayrin figured out what to do with Brea’s previous insubordination, Seladon manipulates her mother into sending Brea to the Order of Lesser Services.

    What Was Sundered and Undone

    Brea was forced to wear a ridiculous court jester hat and to learn her mistake during the Order of Lesser Services. One of the Gelfling girls, Juni, begins annoying Brea, who both reveal why they are in the Order. When Brea told Juni her offense, it left the Gelfling girl speechless. Fed up with washing a podling girl, Brea let the Podling go while she left, both promising not to tell on the other person.

    Age-of-resistance1x03 0916.jpg

    When running away, Brea’s sister, Tavra, tells Brea that there has been a murder at the Castle and that the Gelfling guard, Rian killed one of their own and was ordered by Mayrin to bring him to Ha’rar, leading Brea to tell Tavra she had a vision. At first thinking her sister is joking, Tavra takes Brea seriously when she draws the symbol in the dirt. Brea began blaming Seladon for most of her problems but Tavra disagreed and said that Seladon and her were more alike than they thought because they are both stubborn. Despite them coming across each other, Tavra and Brea hug, where the elder sister encourages her sister that the bonds of sistrhood would be tested but never broken before they go their separate ways. Brea manages to sneak into Ha’rar and she flies up to her mother’s room while stealing the brightest jewel in her mother’s room. She goes back to Onica and Cadia, but when she gets to the tent, Brea is afraid that she was too late, but Onica and Cadia had not left yet. Brea gave Onica the jewel, thinking it was a payment but Onica revealed that it was the chrysalis of a unamoth and that it would lead Brea to the answers she sought.

    Age-of-resistance1x03 2751.jpg

    Brea used the unamoth that led her to her mother’s throneroom and entered a chamber underneath the throne that the unamoth had opened

    The First Thing I Remember Is Fire

    Later, Brea went into the caverns beneath the throne room, where she discovered a trinket and used it to open a secret chamber after reading an inscription on the door that reads, “Thra’s true balance will be found when natural order is sound.” She found columns that contained the many symbols of the seven Gelfling clans and found she needed to activate the chambers with the amulet by going from the Gelfling hierarchy. However, Brea spends all night trying to figure out the code that she read from outside earlier but finds that every time she uses different combinations, the chamber stops activating. Brea discovers that she is approaching this the wrong way and realizes that the hierarchy was a lie.

    Brea Meets Lore.jpg

    She casted the amulet aside on a pile of rocks, which activates rock-like creature, Lore, when Brea realizes that all Gelfling are one and the same. He plays a recording made by SkekGra, instructing Brea that Lore will protect her on her journey to the Circle of the Suns to find out how to end Skeksis power. One of the Paladins overhear the recording and storm in the chambers with Seladon, who worriedly yells for Brea to get away from the creature and knows it spoke heresy. However, Brea stops the conflict before it gets worse and tells Lore that Seladon is her sister. Though Lore calms down, Seladon demands in horror to her sister what she did

    She Knows All the Secrets

    Brea convinces her mother to meet Lore.

    Later, Seladon berates Brea for creating the creature below the throne. The bickering sisters were stopped by the arrival from their mother who yelled for them to stop fighting. Mayrin asked her daughter why she was not at the Order. Brea responded that she ran away but for good reason and the two sisters begin arguing, trying to get Mayrin on one of their sides. Their mother is convinced by Brea to meet the creature because she needs to take a chance with Lore. Mayrin is amazed by the creature and how the chamber remained hidden underneath her throne and asks how Brea discovered it. The teenager decides to show her mother through dreamfasting. However, during the trance, Brea and Mayrin are summoned by Aughra, who has also called other heroes of Thra, where she showed the Gelflings the true nature of the Skeksis by showing them Brea’s, Rian’s and Deet’s experiences around the world. Aughra tells Brea, Rian, and Deet to go with the Circle of the Suns with Lore to seek answers.

    Brea is called a traitor by her own sister.

    Brea and her mother are sent back to the real world, where Brea discovered Deet and Hup in Ha’rar and they confront SkekVar and SkekZok, who are about to take seven volunteers to drain them of their essence. However, SkekVar murders Mayrin in front of Brea and Seladon who fall to their  mother’s side as Seladon calls Brea, Hup and Deet traitors before having them taken away.

    By Gelfling Hand …

    This section of the articles require expansion.

    Time to Make … My Move

    This section of the articles require expansion.

    Prophets Don’t Know Everything

    This section of the articles require expansion.

    The Crystal Calls

    This section of the articles require expansion.

    A Single Piece Was Lost

    This section of the articles require expansion.

    •  Brea is likely named for La Brea Avenue of Los Angeles where offices for Jim Henson Studios still remain.
    •  It is theorized that Brea is Kira’s mother. However, due to the show being cancelled, it is unknown if this theory can be proven or otherwise..
    •  It is revealed in the prequel comics that Brea’s possible father was Kam’lu, a member of the Sifa clan and a captain of the Sea.
    • The Librarian comments on how Brea sounds like a Sifan Gelfling, which Rings true because her father was a Sifa

Den Mörka Kristallen;The Dark Crystal 1982 Movie.

The Dark Crystal is a 1982 puppet-animated dark fantasy film directed by Jim Henson and Frank Oz. It stars the voices of Stephen Garlick, Lisa Maxwell, Billie Whitelaw, Percy Edwards, and Barry Dennen. The film was produced by ITC Entertainment and The Jim Henson Company and distributed by Universal Pictures. The plot revolves around Jen, a Gelfling on a quest to restore balance to the world of Thra and overthrow the ruling Skeksis by restoring a powerful broken Crystal. It was marketed as a family film, but was notably darker than the creators’ previous material.The animatronics used in the film were considered groundbreaking for its time, with most creatures, like the Gelflings, requiring around four puppeteers to achieve full manipulation. The primary concept artist was fantasy illustrator Brian Froud, famous for his distinctive fairy and dwarf designs. Froud also collaborated with Henson for his next project, the1986 film Labyrinth. The Dark Crystal was produced by Gary Kurtz, while the screenplay was written by David Odell, with whom Henson previously worked as a staff writer for The Muppet Show. The film score was composed by Trevor Jones. The film received mixed reviews from mainstream critics; while being criticized for its darker, more dramatic tone in contrast to Henson’s previous works, it was praised for its narrative, aesthetic, and has since garnered a cult following. 

A prequel television series, The Dark Crystal: Age of Resistance, premiered on Netflix in 2019.

Plot- A millennium ago on the planet Thra, two new races appeared when a shard was shattered from the Crystal of Truth: the malevolent Skeksis whose continued corruption of the Crystal to extend their lives ravaged Thra, and the gentle urRu, more commonly known as the Mystics, who made their home in the Valley of Stones to await for their destiny. The leader of the urRu, the Master UrSu, raised a young Gelfling named Jen whose clan were slaughtered by the Skeksis. As the Great Conjunction of Thra’s three suns draws near, a dying UrSu instructs Jen to fulfill a prophecy to heal the Crystal by first retrieving the Shard from Aughra. As UrSu passes, the Skeksis’ Emperor, SkekSo, also dies, leaving the position for the leader vacant. The Skeksis Chamberlain, skekSil, and the General, skekUng, challenge each other to a duel of succession, which results in skekUng defeating skeksil in a “Trial by Stone”. SkekSil is stripped of his robes and exiled, while skekUng is proclaimed the Skeksis’ new emperor. When the Skeksis learn of Jen’s existence, they send their army of giant crab-like Garthim to capture him, with skekSil following. Jen meets Aughra  and enters her orrery, which she uses to predict the motions of the heavens as she explains about the Conjunction before having Jen select the Shard from a box full of shards. Aughra was about to explain Jen’s mission before the Garthim arrive and destroy the orrery, taking Aughra prisoner as Jen flees. Hearing the call of the Crystal, the urRu leave their valley to travel to the Skeksis’ Castle. On his journey through the swamp, Jen meets Kira, another surviving Gelfling who can communicate with animals. The two learn more about each other when they accidentally “dreamfast”, seeing into each other’s memories. They stay for a night with the Podlings who raised Kira, only for them and Kira’s pet Fizzgig to flee when the Garthim raid the village. They are nearly caught by one of the Garthim, but skekSil intervenes by stalling it in its tracks, effectively keeping the Garthim from pursuing them. Jen and Kira discover a ruined Gelfling city with ancient writing describing a prophecy: “When single shines the triple sun, what was sundered and undone shall be whole, the two made one by Gelfling hand or else by none.” They are interrupted by skekSil, revealing the prophecy was the reason for the Gelfling genocide while trying to trick them into coming with him to the castle under false pretenses. But the Gelflings run off and reach the Castle of the Crystal on Landstriders, intercepting the Garthim that attacked Kira’s village. While trying to free the captured Podlings, Kira, Jen, and Fizzgig descend to the bottom of the Castle’s dry moat and use a lower-level entrance to gain access. But they are intercepted by skekSil, who once again attempts to convince the Gelflings to come with him, even attempting to drag them there when they refuse him further. Jen stabs skekSil’s hand with the crystal shard in defiance, and skekSil, in a fit of rage, buries Jen in a cave-in and takes Kira to the Skeksis. skekSil is reinstated as Chamberlain while giving Kira to the Skeksis’ Scientist, skekTek, to be drained of her life essence for skekUng to drink so that he can regain his youth. Aughra, imprisoned in the Scientist’s laboratory, tells Kira to call for help from the captive animals; they break free in response and free Kira while causing skekTek to fall down the crystal shaft to his death. The very moment of skekTek’s death his urRu counterpart, urTih, vanishes in a burst of flame. Aughra frees herself soon after Kira left and before Jen arrived. The three suns begin to align as the Gelflings reunite at the Crystal Chamber as the Skeksis gather for the ritual that will grant them immortality. Jen leaps onto the Dark Crystal but drops the shard, with Kira taking it after Fizzgig is knocked down the crystal shaft by skekUng (he is saved by Aughra shortly after). Kira throws the Shard back to Jen as she is fatally stabbed from behind by skekZok, the Skeksis’ Ritual-Master, and an enraged Jen inserts the Shard into the Crystal, fulfilling the prophecy. The Garthim disintegrate and the Podling slaves regain their essence while the dark stone covering the Castle crumbles away to reveal a crystalline structure. The urRu arrive and use the Crystal to merge themselves and the Skeksis into the beings they once were: the tall, glowing, and angelic urSkeks. The urSkeks’ leader explains to Jen they had mistakenly shattered the Crystal long ago, splitting them into two races and decimating Thra, Jen’s actions have restored them. The urSkeks revive Kira in gratitude for her sacrifice and Jen’s courage, and then ascend to a higher level of existence, leaving the Crystal to the Gelflings on the now-rejuvenated Thra.

Maleficent 2: Mistress of Evil, Ondskans härskarinna Disney Movie 2019.

Maleficent: Mistress of Evil is a 2019 American 3D fantasy film produced by Walt Disney Pictures, directed by Joachim Rønning, and written by Linda Woolverton, Micah Fitzerman-Blue, and Noah Harpster.I t is a sequel to the 2014 film Maleficent, with Angelina Jolie returning to portray the title role. Elle Fanning, Sam Riley, Imelda Staunton, Juno Temple and Lesley Manville also return to their previous roles, with Harris Dickinson replacing Brenton Thwaites from the first film and Chiwetel Ejiofor, Ed Skrein and Michelle Pfeiffer joining the cast as new characters. After the release of the first film in May 2014, Jolie stated a sequel was possible. The project was officially announced the following June, and Jolie signed on in April 2016. Rønning, who co-directed Pirates of the Caribbean: Dead Men Tell No Tales (2017) for Disney, was hired to direct the film in October 2017, and the rest of the cast was added or confirmed in May 2018, with filming beginning that month at Pinewood Studios in England, lasting though August. Maleficent: Mistress of Evil was released in the United States on October 18, 2019. It grossed over $491million worldwide, although it needed to make around $500 million in order to make a profit when factoring in total budget, marketing and distribution costs. The film received mixed reviews from critics, with criticism aimed at the “muddled plot and overly artificial visuals”, but praise for the performances of Jolie, Fanning and Pfeiffer. The film received an Academy Award nomination for Best Makeup and Hairstyling at the 92nd Academy Awards.

Plot- In the five years since King Stefan’s death, Aurora has reigned as Queen of the Moors, with Maleficent as its guardian and protector. Despite her service, the neighboring kingdom of Ulstead, home to Prince Phillip, deems Maleficent a villainess, and while Phillip’s father King John wishes for peace, his mother Queen Ingrith has been secretly preparing for war; in the hidden areas of the castle, workers make weapons and ammunition out of iron, deadly to all fairies. Diaval, Maleficent’s raven and confidante, overhears Phillip proposing to Aurora, and tells Maleficent. While she advises against the union, Aurora vows to prove her wrong. Phillip’s parents host an intimate dinner, having invited Aurora, Maleficent, and Diaval. Maleficent maintains her composure as Ingrith taunts her throughout the evening by repeating the inaccurate story that has made the humans believe her to be evil: the story of Maleficent’s sleeping curse on Aurora is only half the truth, because no one has ever been told the whole truth about her loving Aurora and sacrificing herself to lift the curse. Ingrith alludes to Stefan’s death as murder, and openly claims Maleficent killed two human fairy poachers last seen near the Moors. Maleficent responds with equal iciness that humans have been kidnapping fairies, and hints that she believes the order to do it comes from the King or Queen. Ingrith provokes Maleficent by dismissing her maternal bond with Aurora and claims that the marriage will make Ingrith her real mother, to which Maleficent reacts by angrily unleashing a burst of magical energy. John suddenly faints, and Ingrith accuses Maleficent of cursing him, which Maleficent denies to a disbelieving Aurora. Maleficent is prompted to flee without Aurora by the arrival of armed guards. Phillip urges his mother to try and awaken John with a kiss. Ingrith demurs, and her weak attempt fails because she does not love her husband – especially for their differing views on peace and war. As Maleficent flees the castle, Ingrith’s right-hand woman, Gerda, shoots Maleficent with an iron bullet. Wounded, Maleficent falls into the ocean, only to be rescued by a mysterious winged creature. She awakens in a cavern where fairies like herself have been in hiding. Among them is Conall, their peaceful leader who saved Maleficent, and Borra, a warlike fairy who favors open conflict with humans, who killed the poachers near the Moors. Maleficent is among the last creatures known as the Dark Fey, powerful fairies forced into hiding and nearly driven extinct by human oppression. She is also the last descendant from the Phoenix, an ancient and powerful Dark Fey ancestor. She needs to pass through certain stages in order to harbor her full potential. When she brought up a human, she cleared the initial stages and Conall insists on forgiving Aurora in order to gain her final phoenix stage, but Maleficient disagrees. Because Maleficent’s magic is so powerful, Conall and Borra believe she is instrumental in ending the conflict with humans, either by peace or war. Meanwhile, the magical denizens of the Moors are invited to the royal weeding, but Aurora grows disillusioned with being an Ulstead noblewoman. Later, some humans enter the Moors to gather flowers to use as weapons against the Fey. Sensing this, Maleficent and the Dark Fey go to the Moors to protect the flowers, but they are ambushed, and Conall is killed, prompting Borra to declare war on the humans. Aurora discovers that Ingrith cursed John using Maleficent’s old cursed spindle, as she hates all Moor fairy folk. She confronts Ingrith, who reveals that she bitterly resents the Moors’ prosperity during a time when her kingdom suffered, and also blames them for her brother’s death; she plots to eradicate all fairies and woodland beings using the iron weapons as well as a lethal crimson powder developed by Lickspittle, a de-winged pixie. When the Moor folk arrive, they are trapped inside the castle chapel. At Ingrith’s command, Gerda unleashes the deadly crimson powder by playing the chapel’s organ. The fairy Flittle selflessly sacrifices herself to save everyone as a last resort by clogging the organ, rendering it unplayable, while her friends Knotgrass and Thistlewit cause Gerda to fall to her death. The Dark Fey launch an assault on Ulstead but the palace soldiers begin massacring them until Maleficent, channeling her Phoenix power, joins the battle. She nearly kills Ingrith but Aurora appeals to Maleficent’s humanity to spare her, and declares that Maleficent is her only mother. With Maleficent distracted, Ingrith fires her crossbow. Maleficent saves Aurora, but is struck by arrow, dissolving into ashes. Devastated, Aurora grieves for Maleficent, but after Aurora’s tears fall on the ashes, a revived Maleficent attains her phoenix stage. Horrified and infuriated, Ingrith throws Aurora off the tower to kill her, prompting Maleficent to rescue her again. Phillip forges peace between the fairies and humans and the Ulstead soldiers stand down. Maleficent reverts her fairy form and finally gives Aurora and Phillip her blessing, realizing they belong together. Lickspittle decides to stop following Ingrith’s orders and gives Maleficent the spindle used to cures John and, previously, Aurora. Maleficent destroy the spindle and its curse, awakening John from his slumber. As she flees, Ingrith is stopped and captured by Borra and the other Dark Fey. As punishment for her crimes, she is transformed into a goat by Maleficent until she can accept the peace between the two people. After Aurora and Phillip marry, Maleficent returns to the Moors with the other Dark Fey, teaching the young fairies to fly. She promises to return for Aurora and Phillip’s future child’s christening.

Maleficent: Mistress of Evil
Maleficent Mistress of Evil (Official Film Poster).png

Theatrical release poster
Directed by Joachim Rønning
Produced by
  • Joe Roth
  • Angelina Jolie
  • Duncan Henderson
Written by
  • Linda Woolverton
  • Noah Harpster
  • Micah Fitzerman-Blue
Based on

Characters from:

  • Disney’s Sleeping Beauty
  • La Belle au bois dormant
    by Charles Perrault
Starring
  • Angelina Jolie
  • Elle Fanning
  • Chiwetel Ejiofor
  • Sam Riley
  • Ed Skrein
  • Imelda Staunton
  • Juno Temple
  • Lesley Manville
  • Michelle Pfeiffer
Music by Geoff Zanelli
Cinematography Henry Braham
Edited by
  • Laura Jennings
  • Craig Wood
Production
companies
  • Walt Disney Pictures
  • Roth/Kirschenbaum Films
Distributed by Walt Disney Studios
Motion Pictures
Release date
  • October 18, 2019
Running time
119 minutes
Country United States
Language English
Budget $185 million
Box office $491.7 million

  • Angelina Jolie as Maleficent, a Dark Fey and the former ruler of the Moors; Aurora’s adoptive mother
  • Elle Fanning as Aurora, the current ruler of the Moors; Maleficent’s adoptive daughter; Prince Philip’s wife
  • Michelle Pfeiffer as Queen Ingrith, the power-hungry Queen of Ulstead, John’s wife and Philip’s mother.
  • Chiwetel Ejiofor as Conall, a Dark Fey that rescues Maleficent.
  • Sam Riley as Diaval, a raven that is given human form by Maleficent.
  • Ed Skrein as Borra, a Dark Fey that leads the attack on Ulstead.
  • Harris Dickinson as Prince Phillip, the Prince of Ulstead and Aurora’s lover turned husband.
  • Imelda Staunton as the voice and motion-capture of Knotgrass, a red fairy.
  • Juno Temple as the voice and motion-capture of Thistlewit, a green fairy.
  • Lesley Manville as the voice and motion-capture of Flittle, a blue fairy.
  • Robert Lindsay as King John, the King of Ulstead. The character is briefly mentioned by Prince Phillip in the first film.
  • Warwick Davis as Lickspittle, a de-winged pixie who reluctantly works for Queen Ingrith.
  • Jenn Murray as Gerda, a woman who is loyal to Queen Ingrith.
  • David Gyasi as Percival, the captain of the guards who works for the Ulstead Royal Family.
  • Judith Shekoni as Shrike, a Jungle Fey.
  • Miyavi as Udo, a Tundra Fey.
  • Kae Alexander as Ini, a Desert Fey.
  • Aline Mowat as the Narrator.
  • Emma Maclennon as the voice and motion-capture of Pinto, a hedgehog-like creature.
    • Maclennon also provides the voice and motion-capture of Button.
  • John Carew as Jungle Warrior Fey
  • Freddie Wise as Young Peasant

    On June 3, 2014, following the release of the first film, Angelina Jolie hinted that a sequel to Maleficent was a possibility. On June 15, 2015, Walt Disney Pictures announced that the sequel was in the works and that Linda Woolverton would return to write the screenplay for the film. Although Jolie’s return to the sequel was not yet certain, the script was intended to be written with her in mind. In addition, Joe Roth was reported to return as producer of the film. On April 25, 2016, Disney officially confirmed Jolie’s return as the title character. On August 29, 2017, it was reported that Jez Butterworth would rewrite Woolverton’s script while Roth was confirmed as returning as producer. In September 2017, Jolie stated that they “have been working on the script and this is going to be a really strong sequel.” On October 3, 2017, Deadline reported that the film would be directed by Joachim Rønning and it would start filming in the first quarter of 2018.

    In April 2018, Ed Skrein was cast in the film to play a dark fae, with Elle Fanning returning to play Princess Aurora from the previous film. Michelle Pfeiffer was also added as character described as a queen, later clarified to be an evil queen named Queen Ingrith.

    In May 2018, it was announced that Harris Dickinson would replace Brenton Thwaites in the role of Prince Phillip, due to scheduling conflicts with the latter actor.[ Later it was also confirmed that Jenn Murray, David Gyasi, Chiwetel Ejiofor and Robert Lindsay had also joined the cast. Sam Riley, Imelda Staunton, Juno Temple and Lesley Manville were also confirmed to reprise their roles from the prior film. In June 2018, Judith Shekoni joined the cast.

    Principal photography began on May 29, 2018, at Pinewood Studios in Buckinghamshire, England. Filming wrapped on August 24, 2018.

    The visual effects were provided by Moving Picture Company and Mill Film, supervised by Jessica Norman, Damien Stumpf, Brian Litson, Ferran Domenech, and Laurent Gillet, with Gary Brozenich serving as the Overall Supervisor.

    On May 22, 2019, it was revealed that the film’s score would be composed by Geoff Zanelli, replacing James Newton Howard from the previous film. The film marks Zanelli and Rønning’s second collaboration, after Pirates of the Caribbean: Dead Men Tell No Tales. Zanelli said that “the storytelling in Maleficent: Mistress of Evil is fantastic”, for which he said that “writing [the film’s] score is a dream come true”. On September 20, 2019, the song “You Can’t Stop the Girl” by Bebe Rexha, from the film’s soundtrack, was released as a single.

    All music is composed by Geoff Zanelli (tracks 1–22).

    Maleficent: Mistress of Evil (Original Motion Picture Soundtrack)
    No. Title Performer(s) Length
    1. “Mistress of Evil” 1:33
    2. “Poachers on the Moors” 4:24
    3. “What Is Going On Here?” 4:31
    4. “Ulstead” 2:39
    5. “Etiquette Lesson” 2:05
    6. “All He Wanted Was Peace” 4:50
    7. “We Have Her” 3:49
    8. “We’re Dark Fey” 3:53
    9. “Pinto’s Retcon Mission” 1:52
    10. “It Is Love That Will Heal You” 2:07
    11. “Origin Story” 2:30
    12. “You Don’t Have To Change” 2:01
    13. “The Dance of the Fey” 2:11
    14. “Back to the Moors” 1:14
    15. “Our Fight Begins Now!” 1:45
    16. “Your Majesty, They’re Coming from the Sea” 2:16
    17. “I’ve Made My Choice, You’ll Have to Make Yours” 3:33
    18. “Protecting Our Kind” 2:42
    19. “Maleficent Returns” 5:09
    20. “The Phoenix” 4:41
    21. “Hello, Beastie!” 3:42
    22. “Time to Come Home” 5:49
    23. “You Can’t Stop the Girl” Bebe Rexha 2:38
    Total length: 1:11:57

    The film was released on October 18, 2019, by Walt Disney Studios Motion Pictures, moving up from its previously announced date of May 29, 2020.

    The first teaser trailer for the film was released on May 13, 2019. On July 8, 2019, the official trailer for the film was released, in which Ejiofor’s character was revealed. On September 4, 2019, Disney released a behind-the-scenes featurette in which the cast talk about the evolution of Maleficent’s personality and some of the moral challenges each of the characters face in the story. On September 10, Disney released a black and white sneak peek detailing the makeup process to transform Angelina Jolie into Maleficent.

    A tie-in novelization of the film was published by Disney Publishing Worldwide on October 8, 2019.

    Maleficent: Mistress of Evil was released by Walt Disney Studios Home Entertainment on Digital HD on December 31, 2019, followed by a 4K Ultra HD, Blu-ray and DVD release on January 14, 2020. Maleficent: Mistress of Evil was released on Disney+ on May 15, 2020.

    Maleficent: Mistress of Evil has grossed $113.9 million in the United States and Canada, and $377.8 million in other territories, for a worldwide total of $491.7 million. It was estimated the film would need to gross $400–475 million worldwide in order to break-even, and around $500 million in order to turn a profit.

    In the United States and Canada, the film was released alongside Zombieland: Double Tap and was initially projected to gross $45–50 million from 3,790 theaters in its opening weekend. However, after making $12.5 million on its first day (including $2.3 million from Thursday night previews), estimates were lowered to $38 million. It went on to debut to $36.9 million, finishing first at the box office but marking a 47% decline from the $69.4 million opening of the first film. The lower-than-expected opening was blamed on the five years between installments, mixed critical reviews and competition from fellow releases. In its second weekend, the film made $19.4 million, retaining the top spot at the box office, before falling to third place in its third weekend with $13.1 million.

    The film’s release in India was declared as below average by Chennai Box Office.

    The review aggregator website Rotten Tomatoes reported the film holds an approval rating of 39% based on 255 reviews, with an average rating of 5.10/10. The site’s critics consensus reads: “While it’s far from cursed, Maleficent: Mistress of Evil too rarely supports its impressive cast and visuals with enough magical storytelling to justify its existence.” On Metacritic, the film has a weighted average score of 43 out of 100 based on 40 critics, indicating “mixed or average reviews”. Audiences polled by CinemaScore gave the film an average grade of “A” on an A+ to F scale, the same score as the first film, while those at PostTrak gave it 4.5 out of 5 stars and a 59% “definite recommend”.

    List of awards and nominations
    Award Date of ceremony Category Recipient(s) Result Ref.
    Academy Awards February 9, 2020 Best Makeup and Hairstyling Paul Gooch, Arjen Tuiten and David White Nominated
    Art Directors Guild Awards February 1, 2020 Best Production Design in Fantasy Film Patrick Tatopoulos Nominated
    British Film Designers Guild January 1, 2020 Best Production Design in Fantasy Film Patrick Tatopoulos & Dominic Capon Nominated
    Costume Designers Guild Awards January 28, 2020 Best Costume Design in Fantasy Film Ellen Mirojnick Won
    Make-Up Artists and Hair Stylists Guild January 11, 2020 Best Period and/or Character Hair Styling Audrey Stern Nominated

Jag älskar både Maleficent 1 och 2 den är magisk.

Jag ger Maleficent 2 Ondskans härskarinna 290 poäng.

Skönheten och odjuret ( Beauty and the Beast 2017 movie.

Beauty and the Beast is a 2017 American musical romantic fantasy film directed by Bill Condon from a screenplay by Stephen Chbosky and Evan Spiliotopoulos. Co-produced by Walt Disney Pictures and Mandeville Films, the film is a live-action adaptation of Disney’s 1991 animated film of the same name, itself an adaptation of Jeanne-Marie Leprince de Beaumont’s 1756 version of the fairy tale. It features an ensemble cast including Emma Watson and Dan Stevens as the eponymous characters, with Luke Evans, Kevin Kline, Josh Gad, Ewan McGregor, Stanley Tucci, Audra McDonald, Gugu Mbatha-Raw, Ian McKellen, and Emma Thompson in supporting roles. A live-action Beauty and the Beast remake was first announced in April 2014, with Condon hired to direct it ; Watson, Stevens, Evans, and the rest of the cast signed on between January and April 2015. Principal photography lasted from May to August 2015, taking place primarily at Shepperton Studios in England. With an estimated budget of around $255 million, it is one of the most expensive films ever made. The film premiered at Spencer House in London on February 23, 2017, and was theatrically released in the United States in standard, Disney Digital 3-D, RealD 3D, IMAX, and IMAX 3D formats, along with Dolby Cinema on March 17, 2017. Beauty and the Beast received generally positive reviews from critics, with many praising its faithfulness to the original animated film, as well as elements from the Broadway musical, performances of the cast (particularly those of Watson and Stevens), visual style, musical score, songs, costume design, and production values, though criticism was drawn toward some of the character designs and its excessive similarity to the original. The film grossed over $1.2 billion worldwide, becoming the highest-grossing live-action musical film, making it the second-highest-grossing film of 2017 (after Star Wars: The Last Jedi), and the tenth-highest-grossing film of all time. The film received four nominations at the 23rd Critics’ Choice Awards and two nominations at the 71st British Academy Film Awards. It also received nominations for Best Production Design and Best Costume Design at the 90th Academy Awards. A spin-off/prequel television series, Little Town, is in development.

Plot.- An enchantress disguised as an old beggar woman arrives at a castle during a ball and offers the host, a cruel and selfish prince, a rose in return for shelter from a storm. When he refuses, she reveals her identity. As punishment for the prince’s lack of compassion, the enchantress transforms him into a beast and his servants into household objects before then erasing the castle, himself, and his servants from the memories of their loved ones and everyone else in the town. She casts a spell on the rose and warns the prince that the spell will only be broken if he learns to love another and be loved in return before the last petal falls, or he will remain a beast forever. Some years later, in the small town of Villeneuve, Belle, the book-loving daughter of an inventor named Maurice, dreams of adventure. She constantly brushes off advances from Gaston, an arrogant former soldier as he is not the type of man Belle wishes to marry. On Maurice’s way to a convention, he becomes lost in the forest and seeks refuge in the Beast’s castle. However, the Beast imprisons him when he “stole” a rose from his garden as a gift to Belle. When Maurice’s horse returns without him, Belle ventures out in search of him, and finds him locked in the castle dungeon. Belle tricks her father and the Beast by asking for a simple hug goodbye from her father, she pushes him out and locks herself in the dungeon. The Beast agrees to let her take her father’s place and forces Maurice to leave immediately. Belle befriends the castle’s servants, including candelabra/footman Lumiere, mantel clock/majordomo Cogsworth, feather-duster/maid Plumette, teapot/housekeeper Mrs. Potts, and her son, Chip, who is now a teacup. They invite her to a spectacular dinner. When she wanders into the forbidden west wing and finds the rose, the Beast scares her into the woods. Belle is ambushed by a pack of wolves, but the Beast rescues her, becoming injured in the process. As Belle nurses his wounds, a spark develops between them. The Beast shows Belle a gift from the enchantress, a book that transports readers wherever they want. Belle uses the book to visit her childhood home in Paris, where she discovers a plague doctor’s mask and realizes that she and her father were forced to leave when her mother succumbed to the plague. In Villeneuve, Maurice fails to convince the other villagers of the Beast and Belle’s imprisonment. Gaston, seeing rescuing Belle as an opportunity to win her hand in marriage, agrees to help Maurice. When Maurice learns of his ulterior motive and rejects him, Gaston abandons him to be eaten by the wolves. Maurice is rescued by the town hermit Agathe, but when he tells the townsfolk of Gaston’s crime and is unable to provide solid evidence, Gaston convinces them to send Maurice to an insane asylum. After sharing a romantic dance with the Beast, Belle discovers her father’s predicament using a magic mirror. The Beast releases her to save Maurice, giving her the mirror to remember him with. At Villeneuve, Belle reveals the Beast in the mirror to the townsfolk, proving her father’s sanity. Realizing that Belle loves the Beast, a jealous Gaston claims she has been charmed by dark magic and her thrown into the asylum carriage with her father. He rallies the villagers to follow him to the castle to slay the Beast before he curses the whole village. Inside the asylum carriage, Belle tells her father that she knows what happened to her mother and showed him the rose rattle she took from her magical visit to their old, abandoned home. Maurice and Belle escape, and Belle rushes back to the castle. During the battle, Gaston abandons his companion LeFou, who then sides with the servants to fend off the villagers. Meanwhile, he attacks the Beast in his  tower, who is too depressed to fight back, but regains his spirit upon seeing Belle return. He defeats Gaston, but spares his life before reuniting with Belle. However, Gaston treacherously shoots the Beast from a bridge, which then collapses as the castle begins to crumble, leading Gaston to fall to his death. The Beast then dies as the last petal falls and the servants become inanimate objects. As Belle tearfully professes her love to the Beast, Agathe reveals herself as the enchantress and undoes the spell, repairing the crumbling castle, restoring the Beast and his servants to their human forms and to the villagers’ memories. The Prince and Belle host a ball for the kingdom, where they dance happily.

  • Emma Watson as Belle, a young benevolent bibliophile who seeks for life beyond the confines of her village. She develops feelings for the Beast and begins to see the humanity within him.
    • Daisy Duczmal portrays an infant Belle.
  • Dan Stevens as Beast, a cold-hearted, selfish, unkind prince who is transformed into a beast and forced to earn back his humanity by learning to truly love and be loved in return, as well as to give rather than take. Stevens portrays the character through motion-capture.
    • Adam Mitchell portrays the younger version of the prince.
  • Luke Evans as Gaston, a narcissistic and arrogant hunter and veteran of the French Royal Army who is willing to go as far as it takes to have Belle as his trophy wife.
  • Kevin Kline as Maurice, Belle’s protective widowed father who works as a music box maker and an artist.
    • Jolyon Coy portrays the young Maurice.
  • Josh Gad as LeFou, Gaston’s flamboyant, illiterate, and long-suffering sidekick who bolsters his friend’s ego but gets very little in return.
  • Ewan McGregor as Lumière, the Beast’s charismatic maître d’ who has been transformed into a candelabra.
  • Stanley Tucci as Cadenza, the neurotic court composer and Madame de Garderobe’s husband who has been transformed into a harpsichord.
  • Audra McDonald as Madame de Garderobe, a world-renowned opera singer and Cadenza’s wife who has been transformed into a wardrobe.
  • Gugu Mbatha-Raw as Plumette, one of the castle maids and Lumière’s lover who has been transformed into a feather duster.
  • Ian McKellen as Cogsworth, the Beast’s gruff but loyal majordomo and the head of the household staff who has been transformed into a mantel clock.
  • Emma Thompson as Mrs. Potts, the castle’s motherly head housekeeper who has been transformed into a teapot.
  • Hattie Morahan as Agathe, an impoverished hermit and resident of Villeneuve who, in reality, is the enchantress responsible for cursing the Prince. Morahan also narrates the prologue.
    • Rita Davies portrays the enchantress in her beggar woman form. The film was released posthumously after Davies’ death.
  • Nathan Mack as Chip, Mrs. Potts’ plucky son who has been transformed into a teacup.
  • Adrian Schiller as Monsieur D’Arque, the sly warden of the local asylum who is bribed by Gaston to have Maurice institutionalized.
  • Gerard Horan as Monsieur Jean Potts, an absent-minded potter and resident of Villeneuve who is later revealed to be Mrs. Potts’ husband and Chip’s father.
  • Haydn Gwynne as Clothilde, a fishmonger and resident of Villeneuve who is later revealed to be Cogsworth’s wife.
  • Michael Jibson as the Tavern Keeper, the owner and keeper of Villeneuve’s local tavern where Gaston and the village residents drink.
  • Ray Fearon as Père Robert, Villeneuve’s local chaplain who encourages Belle to borrow the books in the chapel’s meager library.
  • Sophie Reid, Rafaëlle Cohen, and Carla Nella as the Village Lasses, a trio of women who fawn over Gaston and have a jealousy for Belle.
  • Jimmy Johnston, Dean Street, and Alexis Loizon as Tom, Dick, and Stanley, a trio of men who serve as Gaston’s henchmen.
  • Zoe Rainey as Belle’s mother, Maurice’s late wife who contracted the plague and died when Belle was an infant.
  • Clive Rowe as Cuisinier, the castle’s head chef who has been transformed into a stove.
  • Gizmo as Frou-Frou, Maestro Cadenza’s and Madame de Garderobe’s pet Yorkshire Terrier who has been transformed into a footstool.
  • Thomas Padden as Chapeau, the prince’s valet who has been transformed into a coat rack.
  • Tom Turner as The King, the prince’s father who, following his wife’s death, raised his son to be just as selfish and arrogant as he was.
  • Harriet Jones as The Queen, the prince’s mother who died of an illness when he was a child.
  • Dale Branston as Villeneuve’s residential baker.
  • Chris Andrew Mellon as Nasty Headmaster, the unnamed headmaster of an all boys school in Villeneuve that disapproves of Belle teaching a young girl how to read.
  • Vivian Parry as the Village Lass’ mother, an unnamed seamstress.

Stephen Merchant also appeared in the film as Monsieur Toilette, a servant who was turned into a toilet. This character was cut from the film, but is featured in the deleted scenes.

^ In the initial theatrical release, Mitchell was miscredited as Rudi Goodman in the cast, but listed under his real name in the soundtrack credits

^ In the initial theatrical release, Turner is miscredited as Henry Garrett in the cast.

Previously, Disney had begun work on a film adaptation of the 1994 Broadway musical. However, in a 2011 interview, composer Alan Menken stated the planned film version of the Beauty and the Beast stage musical “was canned”.

By April 2014, Walt Disney Pictures had already begun developing a new live-action version of Beauty and the Beast after making other live-action fantasy films such as Alice in Wonderland, Maleficent, Cinderella, and The Jungle Book. Two months later, Bill Condon signed on to direct the film from a script by Evan Spiliotopoulos. Later in September of that same year, Stephen Chbosky (who directed Emma Watson in The Perks of Being a Wallflower) was hired to re-write the script.

Before Condon was hired to direct the film, Disney approached him with a proposal to remake the film in a more radical way as Universal Studios had remade Snow White and the Huntsman (2012). Condon later explained that “after Frozen opened, the studio saw that there was this big international audience for an old-school-musical approach. But initially, they said, ‘We’re interested in a musical to a degree, but only half full of songs.’ My interest was taking that film and doing it in this new medium—live-action—as a full-on musical movie. So I backed out for a minute, and they came back and said, ‘No, no, no, we get it, let’s pursue it that way.'” Walt Disney Pictures President of Production Sean Bailey credited Walt Disney Studios chairman Alan F. Horn with the decision to make the film as a musical: “We worked on this for five or six years, and for 18 months to two years, Beauty was a serious dramatic project, and the scripts were written to reflect that. It wasn’t a musical at that time. But we just couldn’t get it to click and it was Alan Horn who championed the idea of owning the Disney of it all. We realized there was a competitive advantage in the songs. What is wrong with making adults feel like kids again?” The film’s ending originally featured Gaston being cursed by the Enchantress, though the idea was scrapped.

In January 2015, it was announced that Emma Watson had been cast as Belle, the female lead. She was the first and only choice of Walt Disney Studios chairman Alan F. Horn, who had previously run Warner Bros. which released the eight Harry Potter films that starred Watson as Hermione Granger. Two months later, Luke Evans and Dan Stevens were reported to be in talks to play Gaston and the Beast respectively, and Watson confirmed their casting the next day on Twitter. The rest of the principal cast, including Josh Gad, Emma Thompson, Kevin Kline, Audra McDonald, Ian McKellen, Gugu Mbatha-Raw, Ewan McGregor, and Stanley Tucci were announced between March and April to play LeFou, Mrs. Potts, Maurice, Madame de Garderobe, Cogsworth, Plumette, Lumière, and Cadenza, respectively.

Susan Egan, who originated the role of Belle on Broadway, commented on the casting of Watson as “perfect”. Paige O’Hara, who voiced Belle in the original animated film and its sequels, offered to help Watson with her singing lessons.

According to The Hollywood Reporter, Watson was reportedly paid $3 million upfront, together with an agreement that her final take-home pay could rise as high as $15 million if the film generated gross box office income similar to Maleficents $759 million worldwide gross.

Principal photography began on May 18, 2015, taking place at Shepperton Studios in Surrey, England, nearby in the village of Cranleigh, and in Lacock, Wiltshire. Filming with the principal actors concluded on August 21. Six days later, co-producer Jack Morrissey confirmed that production had officially wrapped.

The Beast was portrayed with a “more traditional motion capture puppeteering for the body and the physical orientation”, where actor Dan Stevens was “in a forty-pound gray suit on stilts for much of the film”. The facial capture for the Beast was done separately in order to “communicate the subtleties of the human face” and “[capture the] thought that occurs to him” which gets “through [to] the eyes, which are the last human element in the Beast.” The castle servants who are transformed into household objects were created with CGI animation.

Prior to the film’s release, Bill Condon refilmed one certain sequence in the “Days of the Sun” number, due to confusion among test audiences caused by actress Harriet Jones, who looked similar to Hattie Morahan, who portrayed Agathe. In the original version of the scene, it was Jones’ character, the Prince’s mother, who sings the first verse of the song, with Rudi Goodman playing the young Prince and Henry Garrett playing his father; but in the reshot version of the scene, the singing part is given to the Prince (now played by Adam Mitchell). The King was also recast to Tom Turner, although Harriet Jones was still the Queen, albeit with dark hair. Both Goodman and Garrett’s names were mistakenly featured in the original theatrical release’s credits, but was later corrected in home releases.

When released in 1991, Beauty and the Beast marked a turning point for Walt Disney Pictures by appealing to millions of fans with its Academy Award-winning musical score by lyricist Howard Ashman and composer Alan Menken. In Bill Condon’s opinion, that original score was the key reason he agreed to direct a live-action version of the film. “That score had more to reveal”, he says, “You look at the songs and there’s not a clunker in the group. In fact, Frank Rich described it as the best Broadway musical of 1991. The animated version was already darker and more modern than the previous Disney fairy-tales. Take that vision, put it into a new medium, make it a radical reinvention, something not just for the stage because it’s not just being literal, now other elements come into play. It’s not just having real actors do it”.

Condon initially prepared on only drawing inspiration from the original film, but he also planned to include most of the songs composed by Menken, Ashman and Tim Rice from the Broadway musical, with the intention of making the film as a “straight-forward, live-action, large-budget movie musical”. Menken returned to score the film’s music, which features songs from the original film by him and Ashman, plus new material written by Menken and Rice. Menken said the film would not include songs that were written for the Broadway musical and, instead, created four new songs. However, an instrumental version of the song “Home”, which was written for the musical, is used during the scene where Belle first enters her room in the castle.

On January 19, 2017, both Disney and Celine Dion — singer of the original 1991 “Beauty and the Beast” duet song, with singer Peabo Bryson — confirmed that Dion would be performing one of the new original songs “How Does a Moment Last Forever” to play over the end titles. She originally had doubts about whether or not to record the song due to the recent death of her husband and manager René Angélil, who had previously helped her secure the 1991 pop duet. While ultimately accepting the opportunity, she said: “[The] first Beauty and the Beast decision was made with my husband. Now I’m making decisions on my own. It’s a little bit harder. I couldn’t say yes right away, because I felt like I was kind of cheating in a way”. She eventually felt compelled to record the song because of the impact Beauty and the Beast has had on her career. According to Dion, “I was at the beginning of my career, it put me on the map, it put me where I am today”. Also, Josh Groban was announced to be performing the new original song “Evermore” six days later.

The 2017 film features a remake of the 1991 original song recorded as a duet by Ariana Grande and John Legend. Grande and Legend’s updated version of the title song is faithful to the original, Grammy-winning duet, performed by Celine Dion and Peabo Bryson for the 1991 Disney film. Disney debuted the music video for Ariana Grande and John Legend’s interpretation of the title song on Freeform television network on March 5, 2017, and it has since been viewed over 100 million views on the Vevo video-hosting service.

Emma Thompson also performed the title song, which was performed by Angela Lansbury in the original 1991 animated film.

On March 16, 2015, Disney announced the film would be released in 3D on March 17, 2017. The first official presentation of the film took place at Disney’s three-day D23 Expo in August 2015.

On February 10, 2017, IMAX announced that the film would have an expanded aspect ratio of 1.90:1, revealing 26% more picture, only in IMAX theatres.

Beauty and the Beast had its world premiere at Spencer House in London on February 23, 2017. The US premiere was held at the El Capitan Theatre in Hollywood on March 2, 2017. The stream was broadcast onto YouTube.

A sing along version of the film released in over 1,200 US theaters nationwide on April 7, 2017. The United Kingdom received the same version on April 21, 2017.

The film was re-released in New York City and Los Angeles for a one-week engagement starting December 1, 2017. The movie was an awards push as the 2017–18 awards season heated up.

Disney spent around $140 million to market the film worldwide. Disney premiered the first official teaser trailer on Good Morning America the next day. In its first 24 hours, the teaser trailer reached 91.8 million views, which was the largest number ever seen for a trailer in that amount of time. This record has since been broken by Thor: RagnarokIt, and Avengers: Infinity War. The first official teaser poster was released on July 7, 2016. On November 2, 2016, Entertainment Weekly debuted the first official image on the cover of their magazine, along with nine new photos. One week later, Emma Watson and Disney debuted a new poster. On November 14, 2016, the first theatrical trailer was released, again on Good Morning America. This reached 127.6 million views in its first 24 hours, setting a new record for the most views in one day, beating Fifty Shades Darker; this record has since been broken by The Fate of the Furious. A TV spot with Watson singing was shown during the 74th Golden Globe Awards. Disney released the final trailer on January 30, 2017.

A tie-in novelization of the film was published by Disney Publishing Worldwide on January 31, 2017.

Beauty and the Beast was released on Blu-ray, DVD, and Digital HD on June 6, 2017. The film debuted at No. 1 on the NPD VideoScan overall disc sales chart, with all other titles in the top 20, collectively, selling only 40% as many units as Beauty and the Beast. The film regained the top spot on the national home video sales charts during its third week of release. Beauty and the Beast was released on 4K Blu-Ray on March 10, 2020 along with the original animated film.

Praised for her performance as Belle worldwide, Beauty and the Beast is Emma Watson’s highest-grossing film in the domestic side and second-highest-grossing film, behind only the final Harry Potter film, Harry Potter and the Deathly Hallows – Part 2.

Beauty and the Beast grossed $504 million in the United States and Canada and $759.5 million in other countries for a worldwide gross of $1.263 billion. With a production budget of $254 million, it is the most expensive musical ever made. In just ten days, it became the highest-grossing live-action musical of all time, beating the nine-year-old record held by Mamma Mia!. It also became the second-biggest musical ever overall at the time, behind Disney’s Frozen (2013). Worldwide, the film proved to be a global phenomenon, earning a total of $357 million over its four-day opening weekend from 56 markets. Critics said the film was playing like superhero movies amongst women. It was the second-biggest March global opening, behind only Batman v Superman: Dawn of Justice, the thirteenth-biggest worldwide opening ever and the seventh-biggest for Disney. This includes $21 million from IMAX plays on 1,026 screens, a new record for an IMAX PG title. It surpassed the entire lifetime total of the original film in just six days.

Beauty and the Beast was the 300th digitally remastered release in IMAX company’s history, which began with the re-release of Apollo 13 in 2002. Its robust global debut helped push the company past $6 billion for the first time, and led to analysts believing that the film had a shot of passing $1 billion worldwide from theatrical earnings. On April 12, it passed the $1 billion threshold, becoming the first film of 2017, the fourteenth Disney film, and the twenty-ninth film overall to pass the mark. It became the first film since Rogue One: A Star Wars Story (also a Disney property) in December 2016 to make over a billion dollars, and did so on its 29th day of release. It is currently the second-highest-grossing film of 2017 (behind Star Wars: The Last Jedi), the highest-grossing March release, the highest-grossing remake of all time, and the sixth-biggest Disney film. Even after inflation adjusted, it is still ahead of the $425 million gross ($760 million in 2017 dollars) of the original film. Deadline Hollywood calculated the net profit of the film to be $414.7 million, when factoring together all expenses and revenues, making it the second-most profitable release of 2017.

In the United States and Canada, Beauty and the Beast topped Fandango’s pre-sales and became the fastest-selling family film in the company’s history, topping the studio’s own animated film Finding Dory released the previous year. Early tracking had the film grossing around $100 million in its opening weekend, with some publications predicting it could reach $130 million.By the time the film’s release was 10 days away, analysts raised projections to as high as $150 million. It earned $16.3 million from Thursday previews night, marking the biggest of 2017 (breaking Logans record), the biggest ever for a Disney live-action film (breaking Maleficents record), the second-biggest ever for both a G- or PG-rated film (behind the sixth Harry Potter film Harry Potter and the Half-Blood Prince which also starred Watson), and the third-biggest ever in the month of March (behind Batman v Superman: Dawn of Justice and The Hunger Games).] An estimated 41% of the gross came from IMAX, 3D and premium large format screenings which began at 6 pm, while the rest—59%—came from regular 2D shows which began at 7 pm. The numbers were considered more impressive given that the film played during a school week.

On its opening day, the film made $63.8 million from 4,210 theaters across 9,200 screens, marking the third biggest in the month of March, trailing behind Batman v Superman ($81.5 million) and The Hunger Games($67 million). It was also the biggest opening day ever for a film that wasn’t PG-13, displacing the $58 million opening Wednesday of Harry Potter and the Half-Blood Prince. Its opening day alone (which includes Thursday’s previews) almost matched the entire opening weekend of previous Disney live-action films, Maleficent ($69.4 million) and Cinderella ($67.9 million). Unlike all previous four Disney live-action films witnessing a hike on their second day, Saturday, Beauty and the Beast actually fell 2%, nevertheless, the dip was paltry, and the grosses are so much greater in comparison to the other titles. Earning a total of $174.8 million on its opening weekend, it defied all expectations and went on to set numerous notable records. This includes the biggest opening of the year as well as the biggest for the month of March and pre-summer/spring opening, beating Batman v Superman, the biggest start ever for a PG title (also for a family film), surpassing Finding Dory until it was later surpassed by Incredibles 2, the biggest debut of all time for a female-led film, ahead of The Hunger Games: Catching Fire, the biggest for a Disney live-action adaptation, ahead of Alice in Wonderland and the biggest musical debut ever, supplanting Pitch Perfect 2. Furthermore, it is also Watson’s highest-opening, beating Harry Potter and the Deathly Hallows – Part 2 same with Emma Thompson, director Bill Condon’s biggest debut ever ahead of The Twilight Saga: Breaking Dawn – Part 2 and the biggest outside of summer, save for Star Wars: The Force Awakens, not accounting for inflation.

It became the forty-third film to debut with over $100 million and the fifteenth film to open above $150 million. Its three-day opening alone surpassed the entire original North American run of the first film ($146 million; before the 3D re-release), instantly becoming the second-biggest film of the year, behind Logan ($184 million), and the second-highest-grossing musical, behind Greases $188 million cumulative gross in 1978. Out of the total ticket sales, 70% came from 2D showings thus signifying that people who don’t go to theaters frequently came out in bulk to watch the film. About 26% of the remaining tickets were for 3D. IMAX accounted for 7% ($12.5 million) of the total weekend’s gross, setting a new record for a PG title, ahead of Alice in Wonderland ($12.1 million) while PLF repped 11% of the box office. The film’s opening day demographic, around 70% were female, dropping to 60% through the weekend. According polling service PostTrak, about 84% of American parents who saw the film on its opening day said they would “definitely” recommend it for families. The film’s opening was credited to positive word of mouth from audiences, good reviews from critics, effective marketing which sold the title not just as a family film but also as a romantic drama, the cast’s star power (namely Emma Watson), lack of competition, being the first family film since The Lego Batman Movie a month earlier, nostalgia, and the success and ubiquity of the first film and Disney’s brand.

On Monday, its fourth day of release, the film fell precipitously by 72% earning $13.5 million. The steep fall was due to a limited marketplace where only 11% K-12 and 15% colleges were off per ComScore. Nevertheless, it is the second-biggest March Monday, behind Batman v Superman ($15 million). This was followed by the biggest March and pre-summer Tuesday with $17.8 million, a 32% increase from its previous day. The same day, the film passed $200 million in ticket sales. It earned $228.6 million in the first week of release, the sixth-biggest seven-day gross of all time. In its second weekend, the film continued to maintain the top positioning and fell gradually by 48% earning another $90.4 million to register the fourth-biggest second weekend of all time, and the third-biggest for Disney. In terms of percentage drop, its 48% decline is the third-smallest drop for any film opening above $125 million (behind Finding Dory and The Force Awakens). The hold was notable considering how the film was able to fend off three new wide releases: Power Rangers, Life, and CHiPs. As a result, it passed the $300 million threshold becoming the first film of 2017 the pass said mark. The film grossed $45.4 million in its third weekend, finally being overtaken for the top spot by newcomer The Boss Baby ($50.2 million).On April 4, 2017, its nineteenth day of release, it passed the $400 million threshold becoming the first film of 2017 to do so. By its fourth weekend, the film began was playing in 3,969 cinemas, a fall of 241 theaters from its previous weekend. Of those, approximately 1,200 cinemas were sing-along versions. It earned $26.3 million (−48%) and retained second place. By comparison, previous Disney films Moana (−8%) and Frozen (−2%) both witnessed mild percentage declines the weekend their sing-alone versions were released. Its seventh weekend of release was in contemporaneous with another Emma Watson-starring new film The Circle. That weekend, The Circle was number four, while Beauty and the Beast was at number six. By May 28, the film had earned over $500 million in ticket sales becoming the first film of 2017 (until it was later surpassed by The Last Jedi), the third female-led film (after The Force Awakens and Rogue One followed by Wonder Woman and The Last Jedi) and the eighth overall film in cinematic history to pass the mark.

It has already become the biggest March release, dethroning The Hunger Games (2012), the biggest musical film (both animated and live-action), as well as the biggest film of 2017 (alongside The Last Jedi). In July 2020, due to the ongoing COVID-19 pandemic closing most theaters and limiting new releases, Beauty and the Beast returned 527 theaters (mostly drive-ins) and grossed $467,000.

Outside the US and Canada, the film began playing on Thursday, March 16, 2017. Through Sunday, March 19, it had a total international opening of $182.3 million from 55 markets, 44 of which were major territories, far exceeding initial estimations of $100 million and opened at No. 1 in virtually all markets except Vietnam, Turkey, and India. Its launch is the second-biggest for the month of March, behind Batman v Superman ($256.5 million). In IMAX, it recorded the biggest debut for a PG-rated title (although it carried varying certificate amongst different markets) with $8.5 million from 649 screens, the second-biggest for a PG title behind The Jungle Book. In its second weekend, it fell just by 35% earning another $120.6 million and maintaining its first position hold. It added major markets like France and Australia. It topped the international box office for three consecutive weekends before finally being dethroned by Ghost in the Shell and The Boss Baby in its fourth weekend. Despite the fall, the film helped Disney push past the $1 billion threshold internationally for the first time in 2017.

It scored the biggest opening day of the year in Hong Kong and the Philippines, the biggest March Thursday in Italy ($1 million, also the biggest Disney Thursday debut), the biggest March opening day in Austria, and the second-biggest in Germany ($1.1 million), Disney’s biggest March in Denmark, the biggest Disney live-action debut in China ($12.6 million), the UK ($6.2 million), Mexico ($2.4 million) and Brazil ($1.8 million) and the third-biggest in South Korea with $1.2 million, behind only Pirates of the Caribbean: At World’s End and Pirates of the Caribbean: On Stranger Tides. In terms of opening weekend, the largest debut came from China ($44.8 million), followed by the UK ($24.3 million), Korea ($11.8 million), Mexico ($11.8 million), Australia ($11.1 million), Brazil ($11 million), Germany ($10.7 million), France ($8.4 million), Italy ($7.6 million), Philippines ($6.3 million), Russia ($6 million), and Spain ($5.8 million).

In the United Kingdom and Ireland, the film recorded the biggest opening ever for a PG-rated film, the biggest Disney live-action opening of all time, the biggest March opening weekend, the biggest opening for a musical (ahead of 2012’s Les Misérables), the number one opening of 2017 to date and the fifth-biggest-ever overall with £19.7 million ($24.5 million) from 639 theatres and almost twice that of The Jungle Book (£9.9 million). This included the second-biggest Saturday ever (£7.9 million), only behind Star Wars: The Force Awakens. It witnessed a decline in its second weekend, earning £12.33 million ($15.4 million). Though the film was falling at a faster rate than The Jungle Book, it had already surpassed the said film and its second weekend is the third-biggest ever (behind the two James Bond films Skyfall (2012) and Spectre). In India, despite facing heavy competitions from four new Hindi releases, two Tamils films and a Malayalam and a Punjabi release, the film managed to take an occupancy of 15% on its opening day, an impressive feat despite tremendous competitions. It earned around ₹15 million (US$210,000) nett on its opening day from an estimated 600 screens which is more than the three Hindi releases—Machine, Trapped, and Aa Gaya Hero—combined. Disney reported a total of ₹92.6 million(US$1.3 million) gross for its opening weekend there. It was ahead of all new releases and second overall behind Bollywood film Badrinath Ki Dulhania.[ In Russia, despite receiving a restrictive 16 rating, the film managed to deliver a very successful opening with $6 million.

In China, expectations were high for the film. The release date was announced on January 24, giving Disney and local distributor China Film Group Corporation ample time—around two months—to market the film nationwide. The release date was strategically chosen to coincide with White Day. Preliminary reports suggested that it could open to $40–60 million in its opening weekend. Largely driven by young women, its opening day pre-sales outpaced that of The Jungle Book. The original film was, however, never widely popular in the country. Although China has occasionally blocked gay-themed content from streaming video services, in this case, Chinese censors decided to leave the gay scene intact. According to local box office tracker Ent Group, the film grossed an estimated $12.1 million on its opening day (Friday), representing 70% of the total receipts. Including previews, it made a total of $14.5 million from 100,000 screenings, which is 43% of all screenings in the country. It climbed to $18.5 million on Saturday (102,700 showings) for a three-day total of $42.6 million, securing 60% of the total marketplace. Disney on the other hand reported a different figure of $44.8 million. Either-way, it recorded the second-biggest opening for a Disney live-action film, with $3.4 million coming from 386 IMAX screens.Japan—a huge Disney market—served as the film’s final market and opened there on April 21. It debuted with a better-than-expected $12.5 million on its opening weekend helping the film push past the $1.1 billion threshold. An estimated $1.1 million came from IMAX screenings, the fourth-biggest ever in the country. The two-day gross was $9.7 million, outstripping Frozens previous record of $9.5 million. Due to positive reviews, good word-of-mouth and benefitting from the Golden Week, the film saw a 9% increase on its second weekend. The hold was strong enough to fend off newcomer The Fate of the Furious from securing the top spot. The total there is now over $98 million after seven weekends and is the biggest film release of the year and, overall, the eleventh-biggest of all time. It topped the box office there for eight consecutive weekends.

The only markets where the film did not top the weekend charts were Vietnam (behind Kong: Skull Island), Turkey (with two local films and Logan ahead) and India (where Badrinath Ki Dulhania retained No. 1). It topped the box office for four straight weekends in Germany, Korea, Austria, Finland, Poland, Portugal, Brazil, Venezuela, Bolivia, Switzerland and the UK (exclusive of previews). In the Philippines, it emerged as the most successful commercial film of all time—both local and foreign—with over $13.5 million. In just five weeks, the film became one of the top 10 highest-grossing film of all time in the United Kingdom and Ireland, ahead of all but one Harry Potter film (Deathly Hallows – Part 2) and all three The Lord of the Rings films (which also starred Ian McKellen). It is currently the eighth-biggest grosser with £70.1 million ($90 million), overtaking Mamma Mia! to become the biggest musical production ever there. The biggest international earning markets following the UK are Japan ($108 million), China ($85.8 million), Brazil ($41.5 million), Korea ($37.5 million), and Australia ($35 million).In Europe alone, the cumulative total is $267 million, which led it to become the second-highest-grossing film in the past year (behind Rogue One: A Star Wars Story).

Beauty and the Beast received positive reviews from critics, with particular praise going to its visuals, ensemble cast, musical score, songs, costume design, production values, and faithfulness to the original animated film with a few elements of the Broadway musical version, while the designs of the Beast and the servants’ household object forms drew mixed reviews.[ On review aggregator Rotten Tomatoes, the film has an approval rating of 71% based on 375 reviews, with an average rating of 6.7/10. The website’s critical consensus reads, “With an enchanting cast, beautifully crafted songs, and a painterly eye for detail, Beauty and the Beast offers a faithful yet fresh retelling that honors its beloved source material.” On Metacritic, the film has a score of 65 out of 100, based on 47 critics, indicating “generally favorable reviews”. In CinemaScore polls, audiences gave the film an average grade of “A” on an A+ to F scale.

Leslie Felperin of The Hollywood Reporter wrote: “It’s a Michelin-triple-starred master class in patisserie skills that transforms the cinematic equivalent of a sugar rush into a kind of crystal-meth-like narcotic high that lasts about two hours.” Felperin also praised the performances of Watson and Kline as well the special effects, costume designs and the sets, while commending the inclusion of Gad’s character of LeFou as the first LGBT character in Disney. Owen Gleiberman of Variety, in his positive review of the film, wrote: “It’s a lovingly crafted movie, and in many ways a good one, but before that it’s an enraptured piece of old-is-new nostalgia.” Gleiberman compared Stevens’ portrayal of the Beast to a royal version of the titular character in The Elephant Man and the 1946 version of the Beast in Jean Cocteau’s original adaptation. A. O. Scott of The New York Times praised the performances of both Watson and Stevens, and wrote: “It looks good, moves gracefully and leaves a clean and invigorating aftertaste. I almost didn’t recognize the flavor: I think the name for it is joy.”

Likewise, The Washington Posts Ann Hornaday commended Watson’s performance, describing it as “alert and solemn” while deeming her singing abilities “serviceable enough to get the job done”. Richard Roeper of the Chicago Sun-Times awarded the film three and a half out of five and lauded the performances of Watson and Thompson which he drew a comparison to Paige O’Hara’s and Angela Lansbury’s performances in the 1991 animated version while appreciating the performances of the other cast. He also commented on the advantage of its using both motion capture and CGI technology, writing: “Almost overwhelmingly lavish, beautifully staged and performed with exquisite timing and grace by the outstanding cast”. Mike Ryan of Uproxx praised the cast, production design and the new songs while noting the film doesn’t try anything different, saying: “There’s certainly nothing that new about this version of Beauty and the Beast (well, except it isn’t a cartoon anymore), but it’s a good recreation of a classic animated film that should leave most die-hards satisfied.” In her A- review, Nancy Churnin of The Dallas Morning News praised the film’s emotional and thematic depth, remarking: “There’s an emotional authenticity in director Bill Condon’s live-action Beauty and the Beast film that helps you rediscover Disney’s beloved 1991 animated film and 1994 stage show in fresh, stirring ways.” James Berardinelli of ReelViews described the 2017 version as “enthralling”.

Brian Truitt of USA Today commended the performances of Evans, Gad, McGregor and Thompson alongside Condon’s affinity with musicals, the production design, visual effects featured in some of the song numbers including new songs made by the composers Alan Menken and Tim Rice, particularly Evermore which he described the new song with a potential for an Academy Award for Best Original Song. Peter Travers of Rolling Stone rated the film three out of four, deeming it an “exhilarating gift” while he remarked that “Beauty and the Beast does justice to Disney’s animated classic, even if some of the magic is M.I.A (Missing in Action)”. Stephanie Zacharek of Timemagazine gave a positive review with a description as “Wild, Vivid and Crazy-Beautiful” as she wrote “Nearly everything about Beauty and the Beast is larger than life, to the point that watching it can be a little overwhelming.” and added that “it’s loaded with feeling, almost like a brash interpretive dance expressing the passion and elation little girls (and some boys, too) must have felt upon seeing the earlier version.” The San Francisco Chronicles Mick LaSalle struck an affirmative tone, calling it one of the joys of 2017, stating that “Beauty and the Beast creates an air of enchantment from its first moments, one that lingers and builds and takes on qualities of warmth and generosity as it goes along” while referring the film as “beautiful” and also praised the film for its emotional and psychological tone as well Steven’s motion capture performance.

Tim Robey of The Daily Telegraph gave the film four out of five and wrote that “It dazzles on this chocolate box of a picture that feels almost greedy yet to make this film work, down to a sugar-rush finale to grasp the nettle and make an out-an-out, bells-and-whistles musical” while he praised the performances of Watson, McKellen, Thompson, McGregor, Evans and Gad. Mark Hughes of Forbes also praised the film, which he wrote “could revive the story in a faithful but entirely new and unique way elevating the material beyond expectations, establishing itself as a cinematic equal to the original”. He also complimented the importance of undertaking a renowned yet problematic masterpiece as well addressing changes in the elements of the story while acknowledging the film’s effectiveness in resonating to the audiences.

Several critics regarded the film as inferior to its 1991 animated predecessor. David Sims of The Atlantic wrote that the 2017 film “feels particularly egregious, in part, because it’s so slavishly devoted to the original; every time it falls short of its predecessor (which is quite often), it’s hard not to notice”. Michael Phillips of the Chicago Tribune said that the 2017 film “takes our knowledge and our interest in the material for granted. It zips from one number to another, throwing a ton of frenetically edited eye candy at the screen, charmlessly.” Phillips wrote that the film featured some “less conspicuously talented” performers who are “stuck doing karaoke, or motion-capture work of middling quality”, though he praised Kline’s performance as the “best, sweetest thing in the movie; he brings a sense of calm, droll authority”. Peter Bradshaw of The Guardian praised Watson’s performance and wrote that the film was “lit in that fascinatingly artificial honey-glow light, and it runs smoothly on rails—the kind of rails that bring in and out the stage sets for the lucrative Broadway touring version.” In the same newspaper, Wendy Ide criticized the film as “ornate to the point of desperation” in its attempt to emulate the animated film.

Chris Nashawaty of Entertainment Weekly gave the film a B-, writing that the new songs were “not transporting”. He felt the film needed more life and depth, but praised Watson’s performance as the “one of the film’s stronger elements”. Dana Schwartz of The New York Observer felt that some of the characters, such as Gaston and the Beast, had been watered down from the 1991 film, and that the additional backstory elements failed to “advance the plot or theme in any meaningful way” while adding considerable bloat. Schwartz considered the singing of the cast to be adequate but felt that their voices should have been dubbed over, especially for the complex songs.

Award Date of ceremony Category Recipient(s) and nominee(s) Result Ref(s)
Academy Awards March 4, 2018 Best Production Design Sarah Greenwood and Katie Spencer Nominated
Best Costume Design Jacqueline Durran Nominated
Art Directors Guild Awards January 27, 2018 Excellence in Production Design for a Fantasy Film Sarah Greenwood Nominated
British Academy Film Awards February 18, 2018 Best Production Design Sarah Greenwood and Katie Spencer Nominated
Best Costume Design Jacqueline Durran Nominated
Casting Society of America January 18, 2018 Feature Big Budget – Comedy Lucy Bevan, Bernard Telsey and Tiffany Little Canfield Nominated
Chicago Film Critics Association December 12, 2017 Best Art Direction Sarah Greenwood Nominated
Costume Designers Guild Awards February 20, 2018 Excellence in Fantasy Film Jacqueline Durran Nominated
Critics’ Choice Movie Awards January 11, 2018 Best Art Direction Sarah Greenwood and Katie Spencer Nominated
Best Costume Design Jacqueline Durran Nominated
Best Hair & Makeup Beauty and the Beast Nominated
Best Song “Evermore” Nominated
Empire Awards March 18, 2018 Best Actress Emma Watson Nominated
Best Soundtrack Beauty and the Beast Nominated
Best Make-up and Hairstyling Won
Golden Trailer Awards June 6, 2017 Best Animation/Family Nominated
Best Original Score Nominated
Best Animation/Family TV Spot Nominated
Best Fantasy Adventure TV Spot Nominated
Guild of Music Supervisors Awards February 8, 2018 Best Music Supervision for Film: Budgeted Over 25 Million Dollars Matt Sullivan Nominated
Hollywood Film Awards November 5, 2017 Costume Design Award Jacqueline Durran Won
Make-Up & Hair Styling Award Jenny Shircore Won
Hollywood Music in Media Awards November 16, 2017 Best Original Song – Animated Film “How Does a Moment Last Forever” – Alan Menken and Tim Rice Nominated
Best Original Song – Sci-Fi, Fantasy, Horror Film Won
“Evermore” – Alan Menken and Tim Rice Nominated
Best Soundtrack Album Beauty and the Beast Nominated
Hollywood Post Alliance Outstanding Color Grading – Feature Film Stefan Sonnenfeld Nominated
Outstanding Visual Effects – Feature Film Kyle McCulloch, Glen Pratt, Richard Hoover, Dale Newton, Neil Weatherley and Framestore Nominated
Houston Film Critics Society January 6, 2018 Best Original Song “Evermore” – Alan Menken and Tim Rice Nominated
Make-Up Artists and Hair Stylists Guild February 24, 2018 Feature Motion Picture: Best Period and/or Character Hair Jenny Shircore, Marc Pilcher and Charlotte Hayward Nominated
MTV Movie & TV Awards May 7, 2017 Movie of the Year Beauty and the Beast Won
Best Actor in a Movie Emma Watson Won
Best Kiss Emma Watson and Dan Stevens Nominated
Best Duo Josh Gad and Luke Evans Nominated
Best Musical Moment “Beauty and the Beast” – Ariana Grande and John Legend Nominated
NAACP Image Awards January 15, 2018 Outstanding Supporting Actress in a Motion Picture Audra McDonald Nominated
Nickelodeon Kids’ Choice Awards March 24, 2018 Favorite Movie Beauty and the Beast Nominated
Favorite Movie Actress Emma Watson Nominated
Publicists Guild Awards March 2, 2018 Motion Picture Beauty and the Beast Nominated
San Diego Film Critics Society December 11, 2017 Best Production Design Sarah Greenwood and Katie Spencer Nominated
Best Visual Effects Beauty and the Beast Runner-up
Best Costume Design Jacqueline Durran Won
Best Use of Music Beauty and the Beast Nominated
Satellite Awards February 10, 2018 Best Costume Design Jacqueline Durran Nominated
Saturn Awards June 27, 2018 Best Fantasy Film Beauty and the Beast Nominated
Best Actress Emma Watson Nominated
Best Production Design Sarah Greenwood Nominated
Best Costume Design Jacqueline Durran Won
Seattle Film Critics Society December 18, 2017 Best Costume Design Jacqueline Durran Nominated
St. Louis Film Critics Association December 17, 2017 Best Production Design Sarah Greenwood Nominated
Best Visual Effects Beauty and the Beast Nominated
Teen Choice Awards August 13, 2017 Choice Movie: Fantasy Won
Choice Movie: Fantasy Actor Dan Stevens Nominated
Choice Movie: Fantasy Actress Emma Watson Won
Choice Movie Villain Luke Evans Won
Choice Movie Ship Emma Watson and Dan Stevens Won
Choice Liplock Won
Choice Scene Stealer Josh Gad Nominated
Choice Hissy Fit Luke Evans Nominated
Dan Stevens Nominated
Visual Effects Society Awards February 13, 2018 Outstanding Virtual Cinematography in a Photoreal Project Shannon Justison, Casey Schatz, Neil Weatherley and Claire Michaud for “Be Our Guest” Nominated
Washington D.C. Area Film Critics Association December 8, 2017 Best Motion Capture Performance Dan Stevens Nominated
Best Production Design Sarah Greenwood and Katie Spencer Nominated
Women Film Critics Circle December 17, 2017 Best Family Film Beauty and the Beast Nominated

Controversy arose after director Bill Condon said there was a “gay moment” in the film, when LeFou briefly waltzes with Stanley, one of Gaston’s friends. Afterwards in an interview with Vulture, Condon stated, “Can I just say, I’m sort of sick of this. Because you’ve seen the movie—it’s such a tiny thing, and it’s been overblown.” Condon also added that Beauty and the Beast features much more diversity than just the highly talked-about LeFou: “That was so important. We have interracial couples—this is a celebration of everybody’s individuality, and that’s what’s exciting about it.” GLAAD president and CEO Sarah Kate Ellis praised the move, stating, “It is a small moment in the film, but it is a huge leap forward for the film industry.”

In Russia, Vitaly Milonov agitated the culture minister for banning the film, but instead it was given a 16+ rating (children under the age of 16 can only be admitted to see it in theaters with accompanying adults). Additionally, a theater in Henagar, Alabama did not screen the film because of the subplot. In Malaysia, the Film Censorship Board insisted the “gay moment” scene be cut, prompting an indefinite postponement of its release by Disney, followed by their decision to withdraw it completely if it could not be released uncensored. The studio moved the release date to March 30, to allow more time for Malaysia’s censor board to make a decision on whether or not to release the film without changes. The distributors and producers then submitted an appeal to the Film Appeal Committee of Malaysia, which allowed the film to be released without any cuts and a P13 rating on the grounds that “the gay element was minor and did not affect the positive elements featured in the film”. In Kuwait, the film was withdrawn from cinemas by National Cinema Company, which owns most of the cinemas in the country. A board member of the company stated that the Ministry of Information’s censorship department had requested it to stop its screening and edit it for things the Ministry deemed offensive.

The film also received criticism over its portrayal of LeFou, as many felt that it was used as a way of teasing LGBT+ viewers without providing adequate representation, with his “exclusively gay moment” being his three seconds’ dancing with another man at the end of the film.

Disney has sought to portray Belle as an empowered young woman, but a debate questioning whether it is possible for a captor to fall in love with their prisoner, and whether this is a problematic theme, has resulted. As was the case with the original animated film, one argument is that Belle suffers from Stockholm syndrome (a condition that causes hostages to develop a psychological alliance with their captors as a survival strategy during captivity). Emma Watson studied whether Belle is trapped in an abusive relationship with the Beast before signing on and concluded that she does not think the criticism fits this version of the folk tale. Watson described Stockholm syndrome as “where a prisoner will take on the characteristics of and fall in love with the captor.” She went on to say that “Belle actively argues and disagrees with [the Beast] constantly. She has none of the characteristics of someone with Stockholm [s]yndrome because she keeps her independence, she keeps that freedom of thought”, further adding that Belle defiantly “gives as good as she gets” before forming a friendship and romance with the Beast.

Psychiatrist Frank Ochberg, who was responsible for defining the term “Stockholm syndrome”, said he does not think Belle exhibits the trauma symptoms of prisoners suffering from the syndrome because she does not go through a period of feeling that she is going to die. Some therapists, while acknowledging that the pairing’s relationship does not meet the clinical definition of Stockholm syndrome, argue that the relationship depicted is dysfunctional and abusive and does not model healthy romantic relationships for young viewers. Following this viewpoint, Constance Grady of Vox stated that Jeanne-Marie Leprince de Beaumont’s Beauty and the Beast was a fairy tale originally written to prepare young girls in 18th-century France for arranged marriages, and that the power disparity is amplified in the Disney version. Additionally, Anna Menta of Elite Daily argued that the Beast does not apologize to Belle for imprisoning, hurting, or manipulating her, and that his treatment of Belle is not painted as wrong.

Shortly after the release of the film, Sean Bailey said that Walt Disney Pictures will “explore possible [live-action] spin-off and prequel scenarios” for animated and live-action Disney films, including Beauty and the Beast. Emma Watson and Dan Stevens have both expressed interest in reprising their roles in a potential sequel or prequel to the film.

On March 6, 2020, ABC Signature Studios announced to develop a spin-off/prequel limited series to the film focused on Gaston and LeFou, for Disney+. Luke Evans and Josh Gad will reprise their roles from the film, and will executive-produce the series alongside Eddy Kitsis and Adam Horowitz, with Gad, Kitsis and Horowitz serving as showrunners and writers for the series. Alan Menken was reported to be in talks to return as composer for the series, which he confirmed in April. The series will be titled Little Town.

Jag älskar filmen den är magisk fantasy och Jag gillar Emma Watson Dan Stevens.

Jag ger Skönheten och odjuret, Beauty and the Beast filmen, movie 290 poäng.

Beauty and the Beast
Beauty and the Beast 2017 poster.jpg

Theatrical release poster
Directed by Bill Condon
Produced by
  • David Hoberman
  • Todd Lieberman
Screenplay by
  • Stephen Chbosky
  • Evan Spiliotopoulos
Based on
  • Disney’s Beauty and the Beast
    by Linda Woolverton
  • Beauty and the Beast
    by Jeanne-Marie Leprince de Beaumont
Starring
  • Emma Watson
  • Dan Stevens
  • Luke Evans
  • Kevin Kline
  • Josh Gad
  • Ewan McGregor
  • Stanley Tucci
  • Audra McDonald
  • Gugu Mbatha-Raw
  • Ian McKellen
  • Emma Thompson
Music by Alan Menken
Cinematography Tobias A. Schliessler
Edited by Virginia Katz
Production
companies
  • Walt Disney Pictures
  • Mandeville Films
Distributed by Walt Disney Studios
Motion Pictures
Release date
  • February 23, 2017(Spencer House)
  • March 17, 2017 (United States)
Running time
129 minutes
Country United States
Language English
Budget $160–255 million
Box office $1.264 billion

 

 

 

 

 

 

Peter Pan 2003 Movie

Peter Pan ( 2003 film ) Peter Pan is a 2003 American fantasy adventure film directed by P.J. Hogan and written by Hogan and Michael Goldenberg. The screenplay is based on the 1904 play and 1911 novel Peter Pan, or The Boy Who Wouldn’t Grow Up by J.M. Barrie. Jason Isaacs plays the dual roles of Captain Hook and George Darling, Olivia Williams plays Mrs. Darling, while Jeremy Sumpter plays Peter Pan, Rachel Hurd-Wood plays Wendy Darling, and Ludivine Sagnier plays Tinker Bell. Lynn Redgrave plays a supporting role as Aunt Millicent, a new character created for the film. After completing the script, Hogan and Goldenberg were given approval by Great Ormond Street Hospital, who held the rights to Barrie’s story. Principal photography took place in Australia at Village Roadshow Studios on the Gold Coast, Queensland from September 2002 to May 2003. Peter Pan premiered at the Empire in Leicester Square, London on 9 December and was theatrically released by Universal Pictures, Columbia Pictures, and Revolution Studios in the United Kingdom on 24 December 2003 and in the United States on 25 December 2003. The film received positive reviews from critics but grossed $122 million worldwide. With an estimated budget of $130.6 million (not including marketing costs), the film was a box office bomb resulting in a $70–95 million loss.

Plot- In 1904, in the nursery of the Darling household located in London, Wendy Darling tells stories of Peter Pan to her younger brothers John and Michael before their Aunt Millicent’s arrival. Judging Wendy to be an “almost” full- grown woman, Aunt Millicent advises Mr. and Mrs. Darling that Wendy should be given her own bedroom. At school, Wendy is caught by her teacher, daydreaming with a drawing she made after supposedly seeing Peter in the night. The school sends a letter about this to Wendy’s father at the bank. In an attempt to stop the messenger boy from delivering the letter with the help of the family’s nurse dog Nana, Wendy embarrasses her father in front of his superiors. As punishment, Mr. Darling chains Nana outside and declares that is time for Wendy to grow up and have a room of her own. Peter visits the nursery looking for his shadow, which Nana had bitten off during his previous visit. He introduces himself to Wendy, who sews his shadow back on. Peter invites her and her brothers to Neverland where Wendy can tell stories to his gang of Lost Boys. They agree and are taught to fly using Tinker Bell’s fairy dust. Nana breaks free from her chain and leads Mr. and Mrs. Darling back home from a party, but they arrive too late to stop the children flying away. Captain Hook and his crew are alerted to Peter’s return and fire their cannons, knocking Wendy far away and causing Michael and John to fall towards the island. Jealous of Wendy’s presence, Tinker Bell tricks the Lost Boys into shooting Wendy with arrows as she is falling from the sky. To their relief, Wendy survives as the arrow hits her acorn necklace. However Peter banishes Tinker Bell and ends their friendship. Wendy awakens and agrees to be the Lost Boys’ mother. They lead her to their hideout, but realize her brothers are missing. Michael and John encounter the Native American princess Tiger Lily and all three are then captured by Hook and his crew, and taken to the Black Castle. Peter and Hook engage in a duel, but it is stopped when the ticking crocodile arrives and tries to eat Hook, allowing the children to all escape. After a celebration at the Native American camp, Peter shows Wendy the fairies’ home and the two share a dance. Hook spies on the two and charms Tinker Bell, still hurt over her banishment. Peter becomes upset with Wendy after she tries to get him to express his feelings. He tells her to leave, refusing to believe that he can ever love and grow up. Tinker Bell leads Hook’s men to Wendy’s makeshift “house” and they carry Wendy to his ship. There, he tries to entice her to become a pirate, but sends a spy to follow her to the Lost Boys’ underground hideout afterwards. Wendy persuades her brothers to return home and are joined by the Lost Boys. Later, she leaves an upset Peter a cup of “medicine”. Wendy exits the hideout only to be ambushed and captured by Hook’ s crew. Hook enters the hideout and poisons Peter’s medicine. However, Tinker Bell intervenes, drinking the poison instead, and succumbs to it. Peter asserts his belief in fairies, which reaches out to residents of London, bringing Tinker Bell back to life. Peter and Tinker Bell save Wendy and the boys from walking the plank by the pirates and a battle soon breaks out. Hook uses fairy dust to fight Peter in a duel while flying and taunts him about Wendy abandoning him and forgetting all about him when she grows up. Weakened by those thoughts and unable to fight, Peter Pan is incapacitated. A kiss from Wendy revives Peter and he finally defeats Hook, who falls into the jaws of the crocodile. With the ship covered in fairy dust, Peter flies Wendy and the boys back to London. Mr. and Mrs. Darling are overjoyed at the return of their children, and adopt the Lost Boys. Slightly, who got lost on the way to London and arrives at the house too late, is adopted by Aunt Millicent. Peter promises never to forget Wendy and to return some day before heading back to Neverland with Tinker Bell. Wendy, as the adult narrator, claims she never saw Peter again, but she continues to tell his story to her own children and grandchildren so that his legacy will last forever.

Cast!

  • Jason Isaacs as Captain Hook: the captain of the Jolly Roger and Peter’s archenemy: Peter cut off Hook’s hand and fed it to a crocodile which has followed him ever since.
    • Following the stage tradition, Isaacs also portrays George Darling, the Darlings’ father.
  • Jeremy Sumpter as Peter Pan: a young boy who does not want to grow up. Unlike other versions, Peter’s feelings and even his mere presence affect various aspects of the weather.
  • Rachel Hurd-Wood as Wendy Darling: the eldest child of the Darling family and a surrogate mother to the Lost Boys and her younger brothers, John and Michael.
    • Saffron Burrows plays the adult Wendy, who narrates the film. Burrows appears in the deleted epilogue.
  • Lynn Redgrave as Aunt Millicent: the maternal aunt of the three Darling children. Aunt Millicent is an original character created for the film.
  • Richard Briers as Mr. Smee: Hook’s humorous first-mate.
  • Olivia Williams as Mrs. Mary Darling: the matriarch of the Darling family.
  • Harry Newell as John Darling: the middle child of the Darling family.
  • Freddie Popplewell as Michael Darling: the youngest child of the Darling family.
  • Ludivine Sagnier as Tinker Bell: Peter’s fairy companion who is jealous of Wendy.
  • Rebel as Nana: the dog nurse of the Darling family.
  • Carsen Gray as Tiger Lily: the daughter of a Native American chief.
  • Kerry Walker as Miss Fulsom: a strict schoolteacher.
  • Mathew Waters as the Messenger Boy.
  • The Lost Boys:
    • Theodore Chester as Slightly
    • Rupert Simonian as Tootles
    • George MacKay as Curly
    • Harry Eden as Nibs
    • Patrick Gooch and Lachlan Gooch as twins.
  • The Pirate Crew:
    • Alan Cinis as Skylights
    • Frank Whitten as Starkey
    • Bruce Spence as Cookson
    • Daniel Wyllie as Alf Mason
    • Brian Carbee as Albino
    • Don Battee as Giant Pirate
    • Frank Gallacher as Alsation Fogarty
    • Septimus Caton as Noodler
    • Jacob Tomuri as Bill Jukes
    • Venant Wong as Quang Lee
    • Phil Meacham as Bollard
    • Darren Mitchell as Mullins
    • Michael Roughan as Cecco

The film is dedicated to Dodi Al-Fayed, who was executive producer of the 1991 film Hook. Al-Fayed planned to produce a live action version of Peter Pan, and shared his ideas with Princess Diana (who was President of Great Ormond St Hospital), who said she “could not wait to see the production once it was underway.” Al-Fayed’s father, Mohammed Al-Fayed, co-produced the 2003 adaptation of the tale after his son died in the car crash which also killed Princess Diana. Finding Neverland, a film about J. M. Barrie and the creation of Peter Pan, was originally scheduled to be released in 2003, but the producers of this film – who held the screen rights to the story – refused permission for that film to use scenes from the play unless its release was delayed until the following year.

Contrary to the traditional stage casting, the film featured a young boy in the title role. Since the first stage production of the story, the title role has usually been played by a woman, a tradition followed in the first film adaptation. Two subsequent animated adaptations have featured a male voice actor as Peter Pan, and a Soviet live-action film adaptation for television cast a boy to play the role. This film was the first live-action theatrical release with a boy playing the part. The casting of a single actor to play both George Darling and Captain Hook follows a tradition also begun in the first staging of the play.

Brie Larson originally auditioned for Wendy Darling.

Principal photography began on 17 September 2002 and concluded on 5 May 2003, taking place entirely inside sound stages on Australia’s Gold Coast, Queensland. According to Fisher, the decision to shoot in Australia was based on the low value of the Australian dollar at that time. Hogan had originally planned on filming in a variety of locations such as Tahiti, New Zealand, and London but abandoned this idea after scouting some of the locations. Filming on sound stages did help “retain some of the theatricality of the original play”, something which Hogan thought was important.

The visual effects in the film are a mixture of practical and digital. The fairies that appear in the film are actors composited into the film with some digital enhancements. According to actor Jason Isaacs, the filmmakers were impressed with actress Ludivine Sagnier’s performance and decided to abandon their plans to make Tinker Bell entirely computer animated. The film also features a large, computer-generated crocodile. Another character, an animatronic parrot, appears in some scenes on the pirate ship. A complex harness was built to send the live-action actors rotating and gliding through the air for the flight sequences. They were then composited into the shots of London and Neverland, although they are sometimes replaced with computer-generated figures. One other aspect of bringing the story to life was the complex sword-fighting sequences, for which the actors were trained. Sumpter said that, “I had to train for five months before the shoot. I had to do harness training to learn how to fly and learn how to swordfight,” and that, “I got stabbed a couple of times with a sword.” Hogan says that the flying scenes were very difficult to accomplish, but that, “it was tougher on the kids than it was for me. They were up there on the harness 12′ off the ground, having to make it look like flying is easy and fun.” Sumpter grew several inches over the course of the film’s production, requiring staging tricks to retain Hook’s height advantage over Peter in face-to-face scenes late in the process. Hollywood-based producer Lucy Fisher also said that, “The window he flies out of had to be enlarged twice.”

This film was released in theatres on 18 December 2003 in Australia, on 24 December 2003 in the United Kingdom and on 25 December 2003 in the United States. The Film was distributed by Universal Pictures in the United States, Canada, Australia, New Zealand, the United Kingdom, France, & South Africa, and by Columbia Pictures in the rest of the world. While Universal distributed the Film Theatrically in France, the Home Video Rights are handled by Sony there.

For the promotion of the film, the original novel of Peter Pan by J.M. Barrie was re-released displaying the film’s promotional material. A video game based on the film was released for Game Boy Advance on 4 November 2003, receiving mixed reviews from critics.

Review aggregator Rotten Tomatoes gives the film a score of 76% based on 144 reviews, and an average rating of 6.8/10. The website’s critical consensus reads, “Solid if far from definitive, this version of Peter Pan is visually impressive, psychologically complex and faithful to its original source.” On Metacritic, the film has a weighted average score of 64 out of 100, based on 33 critics, indicating “generally favorable reviews”.

Film critic Roger Ebert gave the film three and a half out of four stars. MovieGuide has also favourably reviewed the film, calling it “a wonderfully crafted, morally uplifting movie that intentionally emphasizes the fantasy elements of the story both in dialogue and design of the film.”

Peter Pan earned $48,462,608 at the box office in the United States and another $73.5 million outside the US, which brings the worldwide total to nearly $122 million. The film’s failure was partly due to its competition from the highly anticipated The Lord of the Rings: The Return of the King released the week before, and Cheaper by the Dozen, which opened on the same day.

 
Year Nominee / work Award Result
2003 Jeremy Sumpter Best Performance by a Younger Actor Won
Best Fantasy Film Nominated
Rachel Hurd-Wood Best Performance by a Younger Actor Nominated
Janet Patterson Best Costumes Nominated

 
Year Nominee / work Award Result
2003 Peter Pan Best Family Film – Live Action Nominated

 
Year Nominee / work Award Result
2003 Rachel Hurd-Wood Best Youth in Film Nominated

 
Year Nominee / work Award Result
2003 Peter Pan Best Live Action Family Film Nominated
Jeremy Sumpter Best Performance by a Youth in a Lead or Supporting Role – Male Nominated

 
Year Nominee / work Award Result
2003 Yusei UesugiGiles Hancock Outstanding Matte Painting in a Motion Picture Nominated
Ludivine Sagnier Outstanding Performance by a Male or Female Actor in an Effects Film Nominated

 
Year Nominee / work Award Result
2004 Jeremy Sumpter Best Performance in a Feature Film – Leading Young Actor Won
Peter Pan Best Family Feature Film – Drama Won
Rachel Hurd-Wood Best Performance in a Feature Film – Leading Young Actress Nominated
Harry Newell Best Performance in a Feature Film – Supporting Young Actor Nominated
Carsen Gray Best Performance in a Feature Film – Supporting Young Actress Nominated

 

Jag älskar den filmen för den är magisk och äventyr sagor tror på älvorna. Jag ger Peter Pan movie 2003 190 poäng.

Peter Pan
Peter Pan 2003 film.jpg

International theatrical release poster
Directed by P. J. Hogan
Produced by
  • Lucy Fisher
  • Douglas Wick
  • Patrick McCormick
Screenplay by
  • P. J. Hogan
  • Michael Goldenberg
Based on Peter and Wendy
by J. M. Barrie
Starring
  • Jason Isaacs
  • Jeremy Sumpter
  • Rachel Hurd-Wood
  • Richard Briers
  • Olivia Williams
  • Lynn Redgrave
  • Ludivine Sagnier
  • Geoffrey Palmer
Music by James Newton Howard
Cinematography Donald McAlpine
Edited by
  • Garth Craven
  • Michael Kahn
Production
companies
  • Universal Pictures
  • Columbia Pictures
  • Revolution Studios
  • Red Wagon Entertainment
  • Allied Stars Ltd
Distributed by
  • Universal Pictures (English-Speaking Territories, France & South Africa)
  • Sony Pictures Releasing(International)
Release date
  • 18 December 2003(Australia)
  • 24 December 2003(United Kingdom)
  • 25 December 2003(United States)
Running time
113 minutes
Countries
  • United Kingdom
  • United States
  • Australia
Language English
Budget $130 million
Box office $122 million

 

Mig själv -Myself Min karaktär,Avatar Character 2020.

 Emma Watson – Jasmine Heikura, Norea Sjöquist spelar Hermione Granger Häxa och tillhör elevhemmet Gryffindor, hon går på Hogwarts slottet. Hon är kompis till Harry potter Ron weasley Ginny Weasley Luna Lovegood och Neville Longbottom.

Anya Taylor- Joy – Alice Dinnean spelar Brea Gelfling Prinsessan av Vapra-Clan bor i landet Thra. Hon är kompis till Rian Gelfling Deet Gelfling Gurjin Gelfling Prinsessa Seladon Gelfling  Prinsessa Tavra Gelfling Hup Podling Kylan Gelfling Naia Gelfling och Lore Bipedal.

Mitt namn är Agnes Maria Magnell / My namne is Agnes Maria Magnell. Min smeknamn är Brea Gelfling Princess of the Vapra clan / My nickname is Brea Gelfling Princess of the Vapra clan. Min födelsedag är den 24 Mars och min födelseår år 1993, My birthday is March 24th and my year of birth 1993. Min stjärntecken i min månad är väduren, My zodiac sign in my month is Aries, min månadsten är Akvamarin, my monthly stone is Aquamarine. Min personliga  och bästa- egenskaper är underbar, vänlig, älskvärd, envis glad. Att tro på magi och sina drömmar/fantasi att vara snäll, kärleksfull och lojal, hundälskare. My personal and best qualities are  wonderful, friendly, lovable, stubborn, happy. To believe in magic and their dreams/ fantasy, to be kind, loving and loyal, dog-lovers. Jag älskar att gå ut på promenad med min söta hund Moltas och gossar, mysa med honom i både min säng och i soffan. Jag älskar att rita och om mina favorit serier mina egna serier och karaktärerna på min blogg och Clip Studio Paint. Jag älskar lyssna på musik på min mobil och på YouTube och jag älskar att läsa Harry Potter böckerna och kolla på mina favorit serier och filmer. Mina favorit serier är Merlin Tv-serie , Shadowhunters Tv-serie , The Dark Crystal: Age of Resistance Tv- serie , Cursed- tv serie, Glitter Force: DokiDoki Tv- serie , Glitter Force Tv- serie, Emily in Paris Tv-serie, och Winx Club Tv-serie, Mako- mermaids Tv-serie, H2o- Bara Tillsätt vatten, H2o Just Add Water Tv-serie, Naruto: Shippuden Tv-serie, Boruto: Naruto Next Generations Tv-serie, Sailor Moon Tv-serie, Kaleido – Star Tv-serie, W.i.t.c.h. Tv-serie, En nypa magi, Just Add Magic Tv-serie, Trollz Tv-serie, Wolf‘s rain Tv-serie, Ginga: Nagareboshi Gin Tv- serie, Ginga: Legend Weed Tv-serie och The Tribe Tv-serie, How I met your Mother Tv-serie, och That 70s Show- Tv-serie, Sherlock Tv-serie och The Crown 2016. Mina favorit filmer – är Den mörka kristallen 1982 THE Dark Crystal, Mupparnas  Julsaga Muppets a Christmas carol – 1992, Edward Scissorhands 1990, The Nightmare Before Christmas -1993, Corpse Bride 2005, Dark ShadowS 2012, Frost 2013, 2019 Frozen, Skönheten och Odjuret – 2017 Beauty and the Beast, Aladdin 2019, Lady och Lufsen 2019 Lady and the Tramp, Den Otroliga Vandringen 1993, Homeward Bound och Aquamarine 2006, Harry Potter och De Vises Sten, and the Philosopher s Stone- 2001, Harry Potter och Hemligheternas Kammare, and the Chamber of Secrets-  2002, Harry Potter och Fången Från Azkaban, and the Prisoner of Azkaban 2004, Harry Potter och Den Flammande Bägaren, and the Goblet of Fire 2005, Harry Potter och Fenixorden, and the Order of the Phoenix  2007, Harry Potter och Halvblodsprinsen, and the Half-Blood Prince 2009 och Harry Potter och dödsrelikerna del 1 2010, and the Deathly Hallows Part one, two del 2 2011, Fantastiska Vidunder: och hur man hittar dom- Fantastic Beasts: and Where to Find Them 2016, Fantastiska Vidunder: Grindelwalds Brott- Fantastic Beasts: The Crimes of Grindelwald  2018, Min granne Totoro- My neighbour Totoro 1988, Pompoko- 1994, Spirted-Away- 2001, Kikis expressbud- Kiki s Delivery Service  1989, Prinsessan Mononoke -Princess Mononoke  1997, Den levande Slottet- Howl s Moving Castle 2004, Ponyo på klippan vid havet Ponyo- 2008 och Lånaren Arrietty- The Secret World of Arrietty  2010. I love going for walks with my cute dog Moltas and cuddling, Cuddling with him in both my bed and on the coach. I love to draw and about my favorite comics my  own comics and the characters  on my blog and clip studio paint. I love listening to music on my IPhone and on you tube and I love reading the Harry Potter books and watching my favorite series and movies. Älskar inte: Jag älskar inte skräck filmer, Dead silence 2007, The Conjuring 2013, Annabelle 2014, The Conjuring 2: The Enfield Poltergeist 2016, Annabelle 2: Creation 2017, The Nun 2018 och Annabelle 3: Comes Home 2019. Jag älskar inte när min pappa och mina bröder retar mig men det bara på skoj, och älskar jag inte när någon bråkar och inte  konflikter på jobbet. Jag älskar inte mosade maträtter, ärtsoppa, spenat och broccoli, chokladpudding, risifrutti, ostkaka, Cheesecake, jag älskar inte ormar inte dom som är giftiga och inte dom som kramar hårt och inte stora spindlar i håret.

 

 

Winx Club : The Mystery of the Abyss Movie 2014.

Winx Club: The Mystery of the Abyss (Italian: Winx Club – Il mistero degli abissi) is a 2014 Italian computer-animated film based on the television series Winx Club. It is the third film based on the show, following 2007’s The Secret of the Lost Kingdom and 2010’s Magical Adventure. It was directed and produced by series creator Iginio Straffi, who also co-wrote the film with Giovanni Masi. After the release of the first Winx Club movie,Iginio Straffi stated that the Rainbow studio was “counting on” making second and third Winx films. In 2010, it was announced that Viacom (the eventual co-owner of Rainbow and owner of Nickelodeon) would provide the resources necessary to produce the film. The Mystery of the Abyss was animated using Autodesk Maya and other programs over a period of two years. The  film takes place after the fifth season of the animated series. It follows the Winx fairies as they work to bring balance back to the Infinite Ocean after the Trix, a trio of witches, team up with a nymph named Politea to find a pearl and destroy the source of the fairies’ power. The film’s release was timed to coincide with the series’ tenth anniversary. The film was first released by 01 Distribution in Italy on 4 September 2014. It was shown in theaters across Europe, while most international releases were televised or direct-to-video.

Plot- The Trix witches are in the Infinite Ocean, unsuccessfully trying to harness the power of the Emperor’s Throne. They end up accidentally summoning the cursed nymph Politea and engage in a battle with her. Politea informs them that the throne will only empower the true emperor, Tritannus. The witches makes a deal with Politea to return Tritannus from his prison in the Realm of Oblivion, which is only possible with the vital force of a young prince. Once they free Tritannus, the Trix plan to convince him to retrieve the mystical Pearl of the Deep, which will free Politea from her curse so she can help the Trix. The Trix travel to Gardenia to attack Bloom and her fiancé, Prince Sky. The two manage to hide, but the Trix capture Bloom’s pet rabbit, Kiko. The Trix render Sky unconscious after he tries to rescue Kiko. The Trix bring Sky to the Infinite Ocean and tie him to the Emperor’s Throne. The Trix and Politea cast a spell and Tritannus appears in front of them. Politea leaves, warning the Trix not to tell Tritannus anything about her. After Tritannus gains his consciousness, Trix leader Icy helps him regain his memory. He tells them that a powerful nymph, Omnia, has hidden the Pearl of the Deep. Tritannus and the Trix head towards Omnia’s cave. At Alfea College, Bloom’s friends agree to help her journey to the Infinite Ocean to save Sky. They discover that Tritannus has sealed every gateway to the ocean except for the Oblivion Portal. The Winx enter the portal and are led through a dangerous dimension. Bloom wakes up in an empty void, where a dark illusion of herself appears to tell her that she has abandoned Sky. When Bloom eventually realizes that she is inside the Realm of Oblivion, she wakes the other Winx. They break free from the dimension with a convergence spell. The Winx hurry towards the Emperor’s Throne, where they fight Politea. Sky gains consciousness and tells them to visit Omnia, who tells them that the Pearl of the Deep has been hidden in the Coral Barrier. They arrive at the barrier to find the Trix and Tritannus, who grabs the pearl and leaves the Winx trapped in the barrier. The girls escape through a tunnel and hurry back to the throne, where Politea appears in front of Tritannus and snatches the pearl from him. She sits on the throne, revealing that she fooled the Trix and will not follow through on their deal. The Trix try to fight Politea, but she hypnotizes them and Tritannus. Sky breaks free from the throne and Bloom’s bonded selkie, Serena, snatches the pearl from Politea’s hand. She gives the pearl to Bloom, who uses it in a convergence spell to destroy Politea. Later, Omnia uses the pearl’s energy to heal Sky. The friends return to Alfea, where Sky wakes up and asks what happened to the Trix and Tritannus. The Winx explain that the Trix have fled, Triannus is once again banished to the Oblivion, and the pearl is back where it should be. Bloom and Sky share a kiss.

Voice cast

  • Letizia Ciampa as Bloom
  • Perla Liberatori as Stella
  • Ilaria Latini as Flora
  • Domitilla D’Amico as Tecna
  • Gemma Donati as Musa
  • Laura Lenghi as Aisha
  • Marco Vivio as Prince Sky
  • Tatiana Dessi as Icy
  • Federica De Bortoli as Darcy
  • Valeria Vidali as Stormy
  • Alberto Bognanni as Tritannus
  • Emanuela Rossi as Headmistress Faragonda
  • Alessandra Korompay as Politea
  • Rachele Paolelli as Omnia

Production

In November 2007, Iginio Straffi stated that Rainbow was “counting on” producing a trilogy of Winx films, and that the movies would be given theatrical releases if the box office response to The Secret of the Lost Kingdom was positive. In 2010, it was announced that Viacom (the eventual co-owner of Rainbow and owner of Nickelodeon) would provide the resources necessary to produce a new Winx Club film along with brand-new seasons of the show.

The Mystery of the Abyss was animated using Autodesk Maya and other programs over a period of two years. Around 400 people worked on the film at the Rainbow CGI studio in Rome. The Rainbow team drew around 112 preparatory sketches to design the 34 three-dimensional sets and 167 character models that were rendered for the production. The completed film contains a total of 113,221 key frames, made up of over 6 million layers. Each animator was able to produce between 0.5 and 5 seconds of animation a day. 70 minutes of music, including four original songs, were recorded for the film.

Reception

Box officeIn its opening weekend, Winx Club: The Mystery of the Abyss grossed $972,838 in 328 theaters across Italy, ranking No. 3 at the box office and averaging $2,966 per venue. The film made $469,301 in its second weekend, finishing seventh, and then $240,575 in its third weekend, finishing tenth. At the end of its run, Box Office Mojo recorded that The Mystery of the Abyss had grossed $5.3 million in eleven territories (including $2.3 million in Italy), against a production budget of €12 million. Box office information for the rest of the 30 territories is unknown. In a 2014 Il Fatto Quotidiano article about the decline of the Italian box office, The Mystery of the Abyss was highlighted as the only currently-playing Italian film which had grossed over a million euros (according to data from box office compiler Cinetel).

Release -Rainbow announced that a third Winx film was in production at the Brand Licensing Europe event in October 2013. A teaser trailer for the film was released to YouTube on 16 April 2014. Its release date was first announced in May 2014, and it was advertised as part of the celebrations marking Winx Clubs tenth anniversary as a brand. The film’s title was chosen as part of a promotion on the official Winx Club website, which included a poll that asked fans to vote on one of four potential titles. Iginio Straffi and Joanne Lee, the executive producer, appeared alongside Winx mascots on the red carpet of the 2014 Venice Film Festival to promote the movie.

Jag gillar Winx club sista filmen och den är magisk. Jag ger Winx Club the mystery of the abyss 121 poäng.