THE CHARLIE COTAYO

⬛️THE DARK GAP: MEDIEVAL SYMBOLISM IN THE DIGITAL AGE ⬛️ There is a moment in one of the final sequences in MONOLOGUE (2026/2027) when the painter, amid a split-screen montage in which his face metamorphoses into various shapes, says emphatically that the financial and emotional disasters he fell victim to left him desolate like an abandoned ghost town in the wilderness. Right after he says “decimated me,” the screen goes black for a split second as though it were a blink. Then, all of a sudden, a castle in ruins—black, with a green background—appears collapsing. This is an example of the seemingly simple audiovisual effects that take place throughout the film and may be perceived as either a technical glitch or something possibly incomprehensible. But in this particular instant, that gap of blackness, of night in complete absence of light—because this line of dialogue is delivered in one of the darkest moments of his life, at night while suffering from insomnia—represents a closing and opening of the eyes in a gesture of despair. It symbolically combines a digital effect with a handcrafted work of art. It may not be immediately understood, but it metaphorically alludes to the deepest innermost part of the painter, like a void of total blackness. Now the screen isn’t just partially split with a black geometric frame on the right side; for that blink-of-an-eye second it represents a complete interior view of the darkness he feels within. It is like a brief moment of the “dark night of the soul,” a medieval concept that in this instance aligns with the collapse of this black medieval fortress in its ruined state that the character painted in oil pastel. It is one of the most symbolic moments of this character’s arc, presented in a cinematically sophisticated way within the avant-garde universe that the film creates via the paintings and animations. I really hope the audience grasps it—if not consciously, then subconsciously—because it is a very specific moment that explains much about this character’s inner turmoil at the height of his collapse.

LESSONS FROM CINEMATIC LIFE: Emerging #filmmakers, or those making a comeback in their cinematic career, should think twice—and ideally thrice—before submitting an unfinished film or work-in-progress project to anyone. This includes festivals and distributors. Remember, motion pictures are a type of vision, and not everyone can envision the final product. They may recognize its talent and potential, and that of the filmmaker—and that’s marvelous—but that is as far as it goes. Moving forward in my own emerging career as a producer and director, I will never make the idealistic mistake of submitting my unfinished films to anyone. One must also be extremely selective, because not everybody is receptive to every type of film. This does not mean your film is not “commercial” or that it will not connect with a vast audience. It has nothing to do with that. Film is one of the most subjective #arts in the world. The idea is to be true and faithful to your cinematic vision, and it will be recognized eventually. Persevere! Be selective! Amen.

Amen!🙏

@ManifestLifpath In faith, and believing these prophetic words, I affirm, Amen! In the name of our Lord and Saviour Jesus Christ of Nazareth, the Son of God.

My favourite of her films is Darling, which I think is also her greatest work on screen. The first movie I remember her in was Doctor Zhivago, which my parents took me to see during a theatrical re-release when I was a kid. Then there’s McCabe & Mrs. Miller, which I like very much—and I must add Shampoo (for her look), Don’t Look Now, Petulia, and especially The Go-Between because it’s a mesmerizing performance and among the best movies I’ve seen. So yes, I love Julie Christie’s films and each one seems like the first time I’ve seen her—magical! I will never forget interviewing Richard Chamberlain and talking about Petulia—I think he was a bit surprised that I’d seen it—and at a very young age—another favourite film for sure!

What is the first film you think of when you see JULIE CHRISTIE?

BREAKING NEWS: MONOLOGUE is officially completed and ready for worldwide release. Monologue: The Crypto Soliloquy of an Oil Pastel Painter has been successfully completed. I’m excited to announce that the theatrical final master has been finalized after a long post-production journey. This one-actor epic soliloquy, with its cast of oil pastel paintings and animations, has surpassed all expectations. It’s a technically beautiful, artistically and aesthetically sophisticated film about a painter’s impassioned testimony of a syndrome that has affected thousands and quite possibly millions, but that has never been presented cinematically quite like this. Desolation Metamorphosis — an uncompromising artistic cut of the movie that dares to explore the raw edges of transformation and ruin is now rendering beautifully as we speak. From the haunting opening intrigue of truth to the visceral Collapse Insomnia that follows, and the Cinematic Masterpiece that becomes the offspring of pain and suffering, this dynamic version that will be offered to select film festivals strips away convention to reveal something deeper, more primal, and unflinchingly personal. It is a cinematic descent into the fragility of form and identity, where every shift and fracture carries the weight of creation through destruction — a haunting meditation on what remains when the self is broken and remade in the aftermath of the fall. Shot with deliberate precision and rendered in stunning 4K Scope, this theatrical cut stands apart as a bold, avant-garde vision for those who crave cinema that lingers long after the screen fades to black. The Dromernaut Entertainment Corporation will be offering the distribution rights to select distributors seeking a new type of movie that dares to be stylistically visionary, universally relevant, and cinematically unique. I’m personally proud of it — it’s a product of faith, perseverance, and indefatigable commitment to quality and fearlessness. The #NewCinematicRenaissance has indeed arrived!

The first time I heard about Battle of Britain (1969) was when I used to go to the library as a kid and read books about movies. One of those books happened to be about that film, and I was very impressed by the pictures because they were in colour and had an epic quality that I liked. Yesterday, I received the new restoration of the movie on 4K UHD and I’m looking forward to seeing it. It has many of my favourite actors: Laurence Olivier, Michael Redgrave, Susannah York, Christopher Plummer, Michael Caine, Robert Shaw, Ralph Richardson, Trevor Howard—an excellent cast. And it is absolutely the type of movie that just isn’t made anymore. It’s a historic event that interests me, and what I remember most about those pictures I saw as a child was that they looked so realistic. I’ve always connected with cinematic authenticity, and that’s what this movie feels like to me—an authentic dramatization. Guy Hamilton, known for Goldfinger and Live and Let Die, is the director, and the DOP is Freddie Young, who photographed Lawrence of Arabia, Doctor Zhivago, and Nicholas and Alexandra. I haven’t seen Battle of Britain in many years, so it’s going to be exciting and even nostalgic watching it again, especially this new restoration that I understand is quite outstanding.

One of the most visually stunning and poetically dazzling films that I’ve seen over and over after falling in love with it as a kid. Its beauty, elegance, and spellbinding magic define cinematic #art.

🎞️⚡️Who should play the role of Hancoch in “The Men Who Can Dance”—?⚡️🎞️ In the screenplay he is one of Miami’s most attractive, elegant, and sophisticated men—extremely wealthy, a bit narcissistic, with a charismatic and seductive personality, but also an ultra-enigmatic side because he lives multiple lives secretly. He can be mesmerizing and intriguing in a dark magician sort of way. What actor now would be ideal for this leading role in the epic thriller I’m developing?

☀️A BEAUTIFUL FILM FROM JAPAN☀️ RIKYU (1989) has yet to be released in the United States on Blu-ray or 4K UHD, and that is a huge shame because this is one of the most beautiful movies anyone can see. It concerns the classic tradition of preparing tea with meticulous, almost ritualistic precision that makes it akin to something sacred—and that is part of its beauty. I’m not going to say what you will find. Let everyone who sees it discover what they find within it, because it is quite a marvel of a film. It is just one of those beautiful things that you never forget, and I’m glad that I was able to come across it quite unexpectedly, available in Japan no less—and the quality of this Blu-ray is excellent. It doesn’t have any English subtitles that I’ve been able to turn on, but the story is so visually clear and the performances are so exceptional that this is a film where I don’t have to worry about actual speech so much as the impression I am getting from these close-ups and beautifully composed images of what appears to me like 16th-century Japan. Although I’m not too familiar with that period in Japanese history, this movie is just magnificent.

✨✨WISDOM AND MATURITY ✨✨ It has been said that life is short even if one lives beyond 100—and if this is true, there is no reason to be in a hurry and accelerate the brevity. Common sense, one would think. In this season of my life, I choose to be less rushed, more sedate, and incredibly patient. I continue aspiring to make the best films I can, forget about those mean-spirited individuals who throw wet towels at you and constantly try to thwart your path, surround myself with good, positive, and constructive people, and keep moving forward toward that promised land. God will open and part those seas. And never lose that passion and desire to grow as an artist, a movie producer, a human being, and a man. I no longer rely on myself but on God. I would be insane not to, because there are simply too many things beyond one’s control, but there is nothing beyond God’s control.

Words like #unique and #original and #different seem to be dreaded in certain nooks and crannies of the film industry--and it isn't simply a Hollywood thing. When are we going to realize that unique and original and different are not only good but can also appeal "commercially?" This cinematic love affair with regurgitation is passe--we are in the twenty-first century, after all. [An image that appears in MONOLOGUE: THE CRYPTO SOLILOQUY OF AN OIL PASTEL PAINTER (2026/2027)---the actor who portrays the painter in the movie. Amazing, stellar performance! 😎 You'll be hearing more about him and the film--post-production is near completion!]

THE CINEMATIC PATIENCE OF JOB Being a modern-day film producer working with digital equipment from production through post-production requires the ancient patience of Job—and I mean that literally. When you start rendering an edited timeline, especially with heavy effects, subtitles, and all the settings needed to make the scene work technically, the software—despite being designed for those functions—can be annoyingly slow. It stalls and tries your patience. What I’ve decided to do during these renders is just let it run from start to finish, despite the blackouts on the SSDs, the 0 MB/s speeds, the snail’s pace, and everything else. I let the process finish, then check the file and the condition of the movie. This guessing game with all our new equipment is boring, and you can’t have an industry with stubborn equipment like that—it’s counterproductive. You need something reliable. I’m using a really heavy-duty laptop and top-quality equipment, so there should be no reason for it to create a corrupt or unusable movie file. So the burden is actually on me to take it easy and just let the machinery do its work and we’ll see what happens. If we have to start again and make a few nominal tweaks and settings adjustments, we do that, but the idea is to get a final product that’s as close to perfect as humanly and divinely possible. I’ll keep everyone posted.

Nothing is more disheartening for an emerging filmmaker than to pay the entry fee at a film festival, send the link and password to the film, and then weeks later after the lineup is announced realize that the film he/she submitted was not viewed at all--that's one of the "risks" and so-called "realities" of submitting to certain festivals, and, from a journalistic POV, I have several "issues" with that type of scenario.

@DrJoLynneW Thank you, Lord. In Jesus's name.

God will cause an oasis to spring up around you, and you will thrive in perfect peace. You will thrive in God’s protection. Yes. You will thrive in God’s favor and prosperity. According to the very design and blessing of God. Many will see this come upon your life during this season of infallible proofs. Glory to God! I say: Father, all praise and honor belong to You. Respond: I thank You, Lord! In Jesus’ name. -Dr. JoLynne Whittaker 4/10/26 3:29am Saint Pete Beach, Florida

@niyetsel Oh, yes it is--and all you have to do is read Psalm 91 in the Old Testament--couldn't be clearer!

KARMA GERÇEKTİR: BU PAYLAŞIMI GÖRDÜKTEN SONRA 30 DAKİKA İÇİNDE İYİ HABER ALACAKSINIZ. KARMA GERÇEKTİR. “EVET” YAZIN