It happened that the current period in world cinema knew 3 documentaries of high caliber, the first about Lady Diana, and he was a cinematic failure par excellence, but what matters to us is what he said, what he told the world about, what he revealed about the lady’s betrayals to her husband while she is still under his infallibility.
The second: Elvis, which we display as a main topic on our page for two reasons: firstly because it is shown on our screens, and secondly because the publication falls on the eve of the 45th anniversary of Elvis Presley’s death on August 16, 1977. As for the third, it constitutes a crossroads in dealing with the biographies of great artists when Putting what they lived in life and art on an Ahmadi rug, it is the biography of the legend Marilyn Monroe embodied by one of the most beautiful women of Hollywood today, Cuban Ana de Armas, who received an important testimony from Brad Pitt when he said about her: She is a wonderful star in the movie: Blonde.
Here, things are far from the Arabs’ goal, and when approaching the legends of Arab art in the fields of singing, composing, acting or writing, the first to stoop to object are the heirs and relatives, they always refuse to make series or films about their artist who inherited his money and real estate, why, there is no reason Logical and we hear talk that does not help in anything, and why their life is important, their art, listen to what they left or watch what they represented or directed.
First, the heirs forget that their borders end at the material inheritance of money and real estate, and what remains is the property of people and critics, and for the heirs to stop repeating that they are the informational reference for artists, we never know them more, and we have fuller details about the minutes of their steps and achievements because this is our mission, and they must accept that Artists have always been away from their homes, their families and their neighbors, meaning they are the last to know a lot about them, yet when someone approaches their artist, they act in an unacceptable and aggressive manner and declare their opposition to any documentary project aimed at revealing its papers.
No, it is not acceptable for the personal biographies of artists to be under the command of heirs and relatives, and this requires us to stand by those who wish to portray the lives of adults whom we consider to be more concerned with their interests than the relatives who have become a stumbling block that must be removed, and continue after.
–
