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The following is a list of various Motion Pictures, since when the technique was first developed in the 1880's by different people around the world, most notably by American inventor Thomas Edison, who made and showcased his first movie in 1889.
Commonly seen Genres
The first experiments with motion pictures began in the United States and Britain in the 1860's, though little was achieved until the late 1860's, when English photographer Eadweard Muybridge used 24 camera's to take pictures of a galloping horse. When put together, and rapidly spun around, it would give the illusion of the moving horse. It wasn't until 1879 when the first Laufbildkamera, or moving picture camera was developed by a consortium of photographers and inventors in Germany. The first "movie" that they filmed (which has since been lost) was of a man riding a bicycle down a street in Hamburg. Further refinements of the new laufbildkamera made the machine cheaper and easier to make. By the dawn of the new century, the company Laufbildkamera AG was the leading manufacturer of motion picture camera's and equipment, and continue to remain so to this day.
Few commercial movies were made at this time, as it was assumed that this was more a hobby for the rich. Requiring an expensive projector (developed a decade after the camera itself and large screen to show, few took any serious belief that this new medium could be one for the masses. The first public display of motion pictures was in Paris, France, in 1897, and at this time it was finally realized what use a motion camera could be. Experiments to incorporate sound were ignored, and it was assumed for decades that Motion Pictures would remain a visual media.
1900sAmerican entrepreneur William McKinley was one fo the first to realize the value of motion pictures, so established the McKinley Motion Picture Company in Chicago in 1901. Hiring talented artists and building special "cinema's" across the US, McKinley began to produce silent films to be distributed to these cinemas, many of which were refurbished theaters. Other men followed suit, including Lord Randolph Churchill in the United Kingdom, Georges Clemenceau in France and Anton Denikin in Russia, and soon motion pictures becamae one of the quickest growing fads in the world. Stars like British Charlie Chaplin and Jules Vermani (stage name of Italian immigrant to the US Ivanoe Bonomi) got their breaks in this early era, and soon became house hold names.
The start of the Second Global War nearly destroyed the burgeoning movie industry. In 1913, France was the first country to establish a board of censorship over movies, and other countries were quick to follow suit. Movies extolling the virtues of the soldiers at the front, as well as comedy's to boost morale, were common. News Reels were also introduced at this time, and the first animated cartoon shorts were produced. After the war ended in 1916, investment in films dried up for a few years, and it wasn't until about 1919 that many motion pictures were once again made.
As the memories of the Second Global War were slowly put in the back of people's minds, the development of motion pictures continued apace. Silent movies dominated, as they had since the first part of the decade, with slapstick comedy of Charlie Chaplin in Great Britain, Max Linder in France and Douglas Fairbanks in America being shown and enjoyed around the world.In the mid-1920's, the development of "sound-on-film" technology introduced the possibility of not only putting music on the film (and not rely on piano players to provide the score in each cinema), but even words. The first "talkie" became The Jazz Singer, which startled many audiences who were not aware that this was a silent film!
At the same time, the "epic" film was popular, involving casts of hundreds, if not thousands, telling historical tales to delight the audiences. Many of the future dictators of the world also realized the possibility of propaganda, which would play a huge role in the 1930's and 40's.
- Birth of a Nation (1920), by D.W. Griffth, and based off the book of the same name by CSA President Thomas Dixon, Jr., the story of the birth of the Confederate States of America. Nearly bankrupted the Confederate Film Company founded by Griffith, but was a popular film nevertheless.
- Napoleon (1923), detailing the rise of the First Emperor of the French Empire, filmed on location where many of his notable battles took part, including a highly detailed version of the Battle of Trafalgar with accurate scale models.
- Road to Jerusalem (1925)
- The Jazz Singer (1926), the first "talkie" movie ever released.
The Stock Market Crash of 1931 threw the entire film industry in chaos, with many of the smaller studios, as well as larger ones that were only going on based on loans and bad stocks going bankrupt, or merging with other companies to try to save the industry. Countries like the Pacific Republic, The US and CSA and Italy and Turkey saw the movie industry as a convenient taxable interest and a passing fad, so increased taxes on the studios while at the same time clamping down with censors for what they could show and release. The rise of National Socialist countries like Germany, United Kingdom, and the Confederate States of America resulted in the movie industry's being taken over early on and used them to turn out propaganda to support the government. A similar situation took place in Sorelist France, though not to the same extent.At the same time, the nation of Assiniboia saw the Depression as a prime opportunity to bring in much needed development and investment into the struggling country. With low taxes and huge incentives, some of the major studios started relocated to the northern nation, especially to the District of Manitoba. Although one actor said the place was "just snow, ice and trees as far as the eye can see, and which seemed to be home to only the hardy or insane few that think this is normal", the industry soon saw a huge possibility with the country. With land values dirt cheap, and labor even cheaper, new studios sprang up over night. The summer season soon became the "movie maker time", with cast and crews spreading out over the country to hurriedly film their scripts and outdoor scenes, then using the winter months for indoor shots and editing. The Assiniboian economy started to rebound within years of the decision, mostly with new capital and new industries to support the movies and their stars. It wasn't without a price though: Assiniboia practiclly sold out to the film industry, and soon they began to dominate the smaller towns that they established the massive backlots and stages in. Towns like Melita, Deloraine, Estevan, Swift Current and Souris soon had the big studios pulling their strings, forcing the local government to do their bidding, and threatening to leave for any of the other small towns that desperately wanted a movie studio if they were not appeased. This resulted in their local taxes reduced to almost nothing, while the municipalities had to give "grants" to the studios, which then had to paid for by the Federal Government to keep these towns solvent. The beginning of the "Studio Town System," which would only gain in power later, had begun.
As the political developments in Assiniboia and the rest of the world regarding movies was unfolding, the art itself was beginning to change. Silent movies were slowly being phased out in favor of "talkies," and experiments with color by the studios started as well. The animated cartoon, one of the first "moving picture" genres at the start of it all, also moved past the 10-20 minute "shorts" to full length feature films. The first of these was by Austrian-American Max Fleischer, who organized the Fleischer Animation Company in this pursuit, taking the classice German tale of Hansel and Gretel to the silver screen in 1938. Though considered a risky, insane gamble by other animation studios, it paid off handsomely, becoming the movie that put Fleischer Animation on the road to become one of the biggest movie companies in the world.
- Triumph of the People (1936) A Natso German propaganda film considered the epitome of the art of persuasion, showing off Ernest Rohm's Germany and how he rebuilt it from the lows of the post-Second Global War era with Nationalism and Socialism. The CSA and Britain would later make similar films, but nothing could rival its predecessor.
- Hansel and Gretel (1938) The first full motion animated film, and winner of the 1939 Academy Award for Best Adapted Screenplay and Best Original Score.
The outbreak of the Third Global War lead to an enormous shift in move production. While the National Socialist countries like Germany, the United Kingdom, and the Confederate States of America, as well as the Sorelist government in France, had took over the movie industry in the 1930's and used them to turn out propaganda to support the government, the democracies of the world had been content to merely set guidelines and censoring to prevent the worst excesses coming out. The invasion of France in 1940 destroyed the burgeoning film centers of Lyons and Bordeaux, while the Imperial government struggled to fight the propaganda war for years after. In September 1942, a few months after the invasion of Assiniboia by the Natso supported Ontario Nationalists, President John Bracken established the Assiniboia Department of Information, where all the studios in the nation (representing most of those in the English speaking world) was to contribute to the war effort with story's and scripts pre-approved by the Department. When the US was invaded by the CSA and the Pacific Republic, President Joseph P. Kennedy established a similar organization under the leadership of Vice-President Walter Disney, called the American Film Standards Council (AFSC).
As the war turned against the Natso alliance in 1944, it became increasingly difficult for them to present the war as they wished to, and they started to resort to covering up, ignoring, playing down or out right lying about the war until it was too late. It was also during this time that the biggest films in German and British history were made, including Augsburg, about the battle of the Rhineland Conflict that was sensationalized and even fabricated and falsified to strike fear in the German people of what the French would do if they won the war. This film was ready to be released in Leipzig in July 1946, but the nuclear bombing of that city (and the death of Rohm) lead to the surrender of Germany, and the belief that the film was lost for good (until recovered in a Berlin safe in 1978, and restored).
In the post war period, the film industries in North America were decentralized, while the French re-established their own studios in Metropolitan France, but all under the umbrella of the Imperial Film et Lumières Conseil (Imperial Film and Enlightenment Council), which directed the propaganda war against the new Juneau Pact for decades.
- Marseilles (1941) filmed in the aftermath of the French retreat from Mainland France mostly in Assiniboia, the story of an expatriate American club owner played by Henry Bogart and his former French mistress (Ingrid Bergman) and her French military officer-turned resistance leader (Marcel Dalio) trying to escape from the Natso regime, and Major Heinrich Strasse (Conrad Veidt), established in France. One of the first anti-Natso films that came out of Assiniboia after the fall of France, it helped give a hint to the atrocious Natso occupation of France, and President Kennedy would later say "...that film brought us to the closest point of making war on Germany right then and there). It would win four Academy Awards, including Best Picture, Best Actor, Best Musical Score and Best Screenplay, and considered one of the greatest films in history.
- Northern Frontier (1943) filmed in Alyseka during the height of the Third Global War, Northern Frontier was a fictional story about British Natso agents trying to overthrow the Alysekan government, and the "Triple A" nations (America, Assiniboia and Alyseka) trying to stop it. Considered one of the first political/action thrillers, and launching the career of unknown Richard Nixon, it still is considered one of the best action thrillers ever made, despite the time when it was made.
As the "Golden Age of Manitoba" began, the Assiniboian Film industry had come to dominate the western world. Although America, with the rebuilding of the nation progressing, efforts to attract movie studios back to the US were moderately successful, and mostly only new studios and "offshoots" of the Assiniboian studios, mostly in the state of Dakota, were founded. The Studio Towns in the nation turned out movie after movie, rolling millions of dollars into the studios and to the country. However, the unequal system, where the towns were controlled by these company's was causing bitter resentment, and efforts to curtail the Studio Town System locally resulted in several studios, especially in the case of Deloraine and King Brother's Studios, who simply abandoned the town to go to Minto in 1953, and razed the entire facility that had been built north of the town because the town council had tried to raise the low taxes on the studio to help pay for infrastructure improvements. The town of nearly 8,000 dwindled to about 1,500 in three years, destroying the town for decades to come.
President Tommy Douglas, elected in 1952, tried to rein in the studios powers through a series of incremental acts, including removing the exemption for avoiding the minimum wage and disbanding the studio police forces that were in charge of the security of most towns. However, when Douglas tried to force the studios to pay more taxes, the studios fought back viciously. Using their power, they tried to bring down the President, but his support among the people allowed him to win re-election in 1956. In 1957, The King Brother's, already in serious debt after relocating from Deloraine, then spent millions more to smear Douglas, at last gave up when the company had to file for bankruptcy. As part of the restructuring, the company had to agree to go public, and agree to the new laws passed by the Senate of Assiniboia. Soon the other studios started to fall in line, and by 1960 most of the major studios and all but a few of the smaller ones fell in line.
Despite the politics and issues, movies from Assiniboia were still popular, and many of the best films in history where made in this time. Despite the rise of television, which many of the studios were also in Assiniboia right beside the movie studios, movies were still a popular medium due to the higher costs of owning a TV and a serious lack of programming that wouldn't be rectified until the 1960's.
Internationally, Russian movies became increasingly popular in Eastern Europe, and several dubbed version received wide release in North America. The French film industry began to regain its pre-war footing, but creativity that was a hallmark of pre- Third Global War films from the Sorelist nation was suppressed, and propaganda, heroic dramas and anti-American and Russian films were the only ones allowed to be made.
- All Out for Sacramento (1951)
- New York, New York (1953)
- Invasion of America (1954)
- Treasure Island (1956); One of the most popular renditions of the famed book by Arthur Llewelyn Davies, produced by the King Brothers Studio is Assiniboia.
- Lexington (1958)
As the studios in Assiniboia were restrained from the worst excesses of the Studio Town System, a sense of fatalism and the fear that the nation was sinking into a Socialist (or Sorelist) dictatorship started to seep into films, which reached a fever pitch in the early 1960's as the California Independence Movement, the Scottish-Quebec Missile Crisis and the increasing hostility between the three power blocs that dominated the world became apparent. Science Fiction became increasingly popular to make as the fear of nuclear apocalypse kept rearing its head through the decade.
However, the movies were now feeling the full burden of the new Television medium, as for the first time the number of people watching TV had equaled the number watching movies in 1963. Max Fleischer of the Fleischer Animation Studios embraced the medium, however, and created a popular "Fleischer Presents" show, where he would explain how the popular animation movies where made, followed by one of his classic cartoons. The show was expected to be a bust, but again Fleischer beat the odds, and though the show usually only broke even during production, the results paid off when it was linked to new movies being released in theaters at the same time.
In Japan a new form of animation, called "Anime" was starting to develop for both movies and television in the early 1960s, spurred on by a supportive government. The animation was highly stylized and told stories based on well known Japanese myths and legends and instantly popular in Japan and throughout Asia, but was otherwise unknown in America or Europe.
- Pennsylvania Railroad (1960) A drama revolving around American concepts of Civil Rights and freedom of speech at a time when both seemed under threat, that kick-started the careers of African American Whitney Young, white actress Laura Lane, and Alysekan actor Donald Sutherland.
- Monday in Detroit (1964) Comedy starring Richard Nixon, who had been known up until this time as a "serious" actor, but proved he could change genres.
- The President's Men (1969) Drama staring Richard Nixon as US President John Kelvin, who, while trying to solve difficult internal and external problems, begins a slow dissent into paranoia and mental illness, which lead to a series of illegal activities including wiretapping and burglary, until a major scandal broke that destroyed the President's career. Considered one of the best Nixon movies made, one reviewer commented that "...Richard played the embattled President as if he knew the person," and that "... we should all be scared if Nixon actually did become president."
The 1970s was a watershed year of film making: it was the first time that more people had televisions than were going to watch movies, and the film industry around the world felt the pressure. Some studios, such as the reformed King Brother's Studio in Assiniboia, played it safe, and made cheap movies with little known actors to try to keep costs down while ensuring a steady, if small, money flow to the company. Others, like Universal and Paramount, went all out and tried to make the grandest spectacles possible to lure people to the theatre. Films like D-Day and Defense of Washington were large successes, but barely made back their cost in the North American market, but the infamous Julius Caesar broke the bank: accidents, cost overruns and the death of star Richard Nixon on set doomed the movie from the start, while the cost ballooned to over $75 million dollars, much more than the estimated $25 million. In the end, as one critic said "Releasing it on the Ides of March... should already tell you how the movie did." It only made a fraction of its cost back, and left Paramount Studios in dire financial straits that took decades to get out of.
The major highlight of the decade was Star Wars in 1976 by budding director and Russian immigrant to the United States Boris Yeltsin. Filming on the Assiniboia prairies and using special effects that were years ahead of its time, Yeltsin managed to bring to life the story of a young rebel fighter trying to bring down an evil empire. Criticism of the movie was strongest in France and Japan, were the film was banned due to the precived attacks against them (and probably true: the film received financial backing from both the Assiniboian and the US government. However, it became the most popular film of the decade, and went on to spawn five other movies, a massive expanded universe and media empire, as well as a new direction for movies to take.
- D-Day (1971), a "historical" re-enactment of the New World Invasion of Ireland and Scotland in the Third Global War, produced and released by Universal Studios. Perhaps one of the most expensive and successful films since before the Third Global War, D-Day earned numerous awards, including Best Picture and Best Editing in the 1972 Academy Awards. However, veterans groups and historians lambasted the film, as it portrayed a "kiddies introduction to war" that what many of these men went through, and ignored the contributions of the Brazilians, French and overlooked the Scottish Resistance.
- Invasion of America (1972), a fictional story based on the possibility of simultaneous French and Japanese invasion of the United States, and the increasingly desperate measures the US would take to fight against such an attack. Filmed in a documentary style, the film received no support from the US Government, and the Administration of Edward R. Morrow tried to ban the film as a "subversive and dangerous" instrument of Sorelism. However, the film was given a minor release, and, although doing poorly at the box office at first, critics praised the special effects and the "documentary" style of filming. In the 1980s and 90s, as films like Sunrise in the West and The Day After became popular, Invasion of America returned to theaters and became a cult-classic. A remake was made in 2008.
- Julius Caesar (1974), Paramount Studio's swan song, and the expensive and disastrous production in history. The death of Richard Nixon early in the film when a reconstructed Roman temple collapsed on him, as well as multiple other accidents, deaths and the suicide of the main writer haunted the set, and without their main star, many liberties had to be taken to try to finish the film, although almost three times over budget. The result was a box office bomb, sinking Paramount, and jeopardizing the studio's financial situation for years.
- Defense of Washington (1976), Universal Studio's second attempt at a Third Global War era movie, Defense of Washington was a mediocre success. Due to cost cutting measures and another attempt to "child proof" the war, Veterans groups boycotted the movie, which turned many people away from the theaters when it came out. It wouldn't be until the mid 80s before Universal would try to make another war movie.
- Star Wars (1976), perhaps the most influential movie in history: the start of a sci-fi saga by Boris Yeltsin, which redefined the use of special features, as well as perhaps the catalysis for the European Liberation Movement. Although the writing was considered "wooden" and "12 year old scribbles", the story of Luke Starkiller, played by Paul Freeman, being recruited into a Resistance by Obi-Wan Kenobi, played by Donald Sutherland against an evil Empire lead by the Emperor, and his henchman Marshall Palpatine, played by Gerald Ford, that lords over a solar system with brute force connected with many, especially those that were being held under the aggressive rule of France, Brazil and Japan. Despite being banned in France and Japan, the film was still smuggled in, and gave hope to young people that they may be able to overthrow their oppressors. It was only revealed in 2005 that the US and Assiniboian government gave millions to Yeltsin to develop the movie, for the primary purpose to then infiltrate it into Europe and Asia. Yeltsin claimed that "I had the idea for the story, and it just so happened it was one that the Juneau Pact wanted."
- Blue Moon, Red River (1976) the second directing credit of Bill Clinton's was also one of the most popular films of the year, shadowed only by Star Wars. A tongue-in-cheek jab the still popular "Oregon" films, Blue Moon, Red River made fun of the gun fights and stagecoach chases that made those films so popular, primarily by making normally evil British soldier's the protagonist and showing the outlandishness of the events that occurred in the genre.
The 1980s began with optimism as movies like Star Wars and its eagerly anticipated squeals, and other movies that had strong story and modest budgets were churned out by the studios in Assiniboia and the United States, but King Brother's Studios, after years of cautious production, took the biggest risks under the new President George Lucas, and produced massive, sweeping epics with controversial and incendiary themes, primarily by the famed Director's Leslie Nielsen and Bill Clinton. However, the tensions of the world cast a dark cloud over the medium: the biggest movie of 1985 was Nielsen's Sunrise In The West, perhaps the darkest and most realistic portrayal of Nuclear War ever depicted, was the movie of the year, winning Academy Awards for Best Picture, Best Actor (Chuck Norris), Best Director (Leslie Nielsen), Best Special Effects and Best Story. Other blockbusters, such as Airplane (1982), California Express (1986), From France With Love (1987) and Searching for Ella Gardner (1989) were some of the most popular and successful films in decades, and helped give the stagnating Film Industry a major boost.
- Stars Wars 2: Imperial Retaliation (1981)
- Airplane (1982); a serious, gritty portrayal of what happens when an airplane is hijacked in mid flight, as the passengers on board, the ground crew of Chicago International Airport and the US Air Force struggle to prevent a mass murder and calamity. The film was especially notable for the elderly Ronald Reagan, the former leader of the California Liberation Movement as a passenger on the airplane trying to talk down the hijackers. This, as well as the violence (including the shooting of children) earned the film both praise and condemnation: the US Department of Communication was on the verge of banning the film until Director Leslie Neilsen agreed to remove some of the most objectionable parts, although Reagan kept his role.
- Sunrise in the West (1985); after the success of Airplane, King Brother's Studio agreed to sponsor Director Leslie Nielsen's next major epic disaster film, that of what would happen to a city like Tulsa, Sequoyah, after a nuclear exchange. The film, casted mostly with unknowns, became a harrowing, frightening movie, and featured research that directly contradicted much of the United States government said a nuclear war would be like in Civil Defense preparedness measures. It was a wake up call to many, and in a private screening to President Edward Kennedy, the President broke down, and promised to make sure that America would be better prepared than the one portrayed in the film. However, Nationalists and Conservatives attacked the film, one person claiming that it was "fodder for Sorelist agitators," and hundreds of organizations and towns boycotted and banned the film. Despite this, it was Nielsen's crowning achievement, earning him Academy awards for Best Picture, Best Actor (Chuck Norris), Best Director (Leslie Nielsen),Best Special Effects, and Best Story.
- California Express (1986): Based on a true story, and set in Occupied California in the 1950's, the movie revolves around a California Liberation Movement plot to hijack one of the few trains running through the territory, and the US Army response. However, the film was lambasted, for "trying to cash in on Nielsen's Airplane and old Western plot lines."
- From France With Love (1987); the first in a series of popular spy films, revolving around American secret agent code named "Indiana Jones," played by Donald Sutherland. A dangerous mission to France as a homicidal general prepares to launch a nuclear war is defeated by the suave, sophisticated and irresistible Jones, with help from Russian agents and a French defector.
- Searching For Ella Gardner (1989); Perhaps on of the lightest and most uplifting movies ever made in the "Gritty Eighties," this romantic comedy stared Madonna Elliot (real name Madonna Louise Ciccone) as the title character, as she travels around the world, and her fiance, played by Christopher Reeve, trying to find her. The film was popular, especially with female audiences, and was nominated for several Academy Awards, winning only in Best Actress.
The "Gritty Eighties" dragged on into the mid 1990s, when another wave of post-apocolyptic films emerged after the Crisis of 1991, trying to replicate the success of Neilsen's Sunrise in the West. Only a few, namely The Day After (1993) even came close to achieving the success of the 1985 blockbuster, most others turning into financial and critical failures.
At this point, the doom and apocalyptic stories became repetitive and audiences, still comprehending the nuclear crisis that was only narrowly avoided, refused to watch such films. Studios scrambled to keep pace, and soon a multitude of "feel good" movies were ordered, but, like the Apocalypse movies of only a few years before, the quick glut in the market resulted in paper thin, rushed plots and movies, and audience disinterest. New companies, investing in Computer Generated Images (CGI), developed the first fully CGI movie Toy Story in 1991. It was clear that the animators had talent, but the animation was jumpy, blocky, and during the scenes with humans, children screamed at the plastic faces and bodies. Toy Story, while a bold leap, barely treading water at the box office.
The one bright spot was the final Star Wars film, Galactic Revolt. Released 15 years after the second movie (partially due to the limits of the new CGI that Yeltsin wanted for this grand finale), the film was eagerly awaited by audiences, and was released to enormous public appeal, and fairly good critical reviews, one going so far as saying "...Yeltsin at last is a mature writer and director, and Galactic Revolt will be remembered as his greatest movie.
- Toy Story (1991)
- The Day After (1993)
- Star Wars 3: Galactic Revolt (1996)
- Austin Powers (1997)
The excesses of the 1990s still haunted the major studios, especially their ledger books, and an effort to reshape the industry from the inside out to become meaningful in a world where the internet and television continuously ate away at the profits of the industry. Lawsuits against websites that illegally downloaded their movies became very expensive, as when one site was taken down, two or three more would pop up. An attack against the insanely popular YouTube in 2003 ended in a surprising twist: the American Judaical system defended the website, saying that YouTube was a "beacon of First Amendment rights," and that the movie studios had little to no chance to force a take down of every video related to their products, as most were in the "commentary, criticism, news reporting, research, teaching, library archiving, parody, scholarship and not-for-profit," guidelines of fair-use.
The major studios, in between the law cases began to develop new movies, primarily remakes of older movies (including D-Day, From France with Love, and Invasion of America,) updating the special effects and battle scenes, but writing was noticeably lacking. While the 1990s saw the start of the trend to make movies of other media, especially kids animated programs and comic books from the 70s and 80s, it became a standard in the 2000s. TV show movies like Transformers and Scooby-Doo and Captain Starflyer all became box office successes, while comic book movies based on superheros like Batman and Spiderman did very well in movie theaters, and lead to many more similar movies being made into the next decade.
- Scobby-Doo (2000)
- D-Day (2001)
- From France With Love (2002)
- Captain Starflyer (2004)
- Spiderman (2005)
- Transformers (2006)
- Invasion of America (2008)
- Batman (2009)
Since its only been a couple years since the start of the 2010s, no definite style has been seen to develop. Some critics considered that the the 2010s were simply a continuation of the cautious, restrained 2000s, where few risks are taken. However, it can be said that the indie development scene, namely in the Confederacy, Brazil and India were becoming increasingly popular and successful, able to nudge into the overwhelming American/Assiniboian market of movies.
- Slumdog Millionaire (2010)
- Rio (2011)