giovedì 31 agosto 2017

Sam Rockwell Sarà George W. Bush nel biopic su Dick Cheney diretto da Adam McKay

Nel cast del film già confermati Christian Bale, Amy Adams e Steve Carell

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Jon Bernthal insieme a Ryan Gosling in First Man, diretto da Damien Chazelle

Nel biopic su Neil Armstrong reciteranno anche Jason Clarke, Kyle Chandler, Claire Foy e Corey Stoll

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Repertory Pick: Iconic Brando in Berkeley


On Sunday, as part of a series on Marlon Brando running through the end of October, the UC Berkeley Art Museum and Pacific Film Archive will transport moviegoers to the docks of Hoboken, New Jersey, as Elia Kazan’s 1954 On the Waterfront screens at 7 p.m. In this melancholy masterpiece, Brando delivers one of the most acclaimed performances in Hollywood history, as a longshoreman and ex-prizefighter struggling over whether to remain loyal to his corrupt union. Boasting an extraordinary cast also including Karl Malden, Lee J. Cobb, Rod Steiger, and Eva Marie Saint, and buoyed by Budd Schulberg’s gritty dialogue and Boris Kaufman’s forlorn location photography, On the Waterfront went on to win a whopping eight Oscars, and its influence can be felt in the work of such cineaste admirers as Martin Scorsese and Spike Lee. Several decades later, “it’s still possible to be captivated by the tough-minded verisimilitude of Kazan’s approach,” writes filmmaker Michael Almereyda in his liner essay for our release of the film, a classic that simultaneously “earns its status . . . by breaking free of strict realism to tell a story that is, finally and enduringly, a poetic fable.”

from The Criterion Current

[The Daily] Venice + Toronto 2017: Guillermo del Toro’s The Shape of Water


Guillermo del Toro’s The Shape of Water, premiering in Competition in Venice and screening as a Special Presentation in Toronto, is a “ravishing, eccentric auteur’s imagining, spilling artistry, empathy and sensuality from every open pore, [offering] more straight-up movie for your money than just about any Hollywood studio offering this year,” writes Variety’s Guy Lodge. “This decidedly adult fairytale, about a forlorn, mute cleaning lady and the uncanny merman who save each other’s lives in very different ways, careers wildly from mad-scientist B-movie to heart-thumping Cold War noir to ecstatic, wings-on-heels musical, keeping an unexpectedly classical love story afloat with every dizzy genre turn. Lit from within by a heart-clutching silent star turn from Sally Hawkins, lent dialogue by one of Alexandre Desplat’s most abundantly swirling scores, this is incontestably Del Toro’s most rewarding, richly realized film—or movie, for that matter—since 2006’s Pan’s Labyrinth.

“It feels less of a fevered artistic exercise than his other recent work,” finds the Guardian’s Xan Brooks, “more seamless and successful in the way it orders its material. Yes, Del Toro’s latest flight of fancy sets out to liberally pastiche the postwar monster movie, doffing its cap to the incident at Roswell and all manner of related cold war paranoia. But it’s warmer and richer than the films that came before. Beneath that glossy, scaly surface is a beating heart.”

“There is unmistakable, idiosyncratic care poured into every frame of The Shape of Water, saturated with del Toro’s offbeat compassion and looping, pattern-recognition intelligence,” writes Jessica Kiang at the Playlist. “[M]otifs recur and DP Dan Laustsen’s striking images often refer back to earlier shots, with an insouciant, incidental ease that could only feel so effortless in such a meticulously considered world.”

“The era in which Water is set—Cold War 1960s—informs the aesthetic, but the director and designer Paul Austerberry have couched it in a baroque-colored, industrial-like setting, a dripping netherworld, a fairytale land existing within that time zone yet eternal,” adds Screen’s Fionnuala Halligan.

“The bright-eyed heroine of the piece is Elisa (Sally Hawkins), who lives alone in an apartment above a crumbling repertory cinema in downtown Baltimore, and works nights as a charlady at the pointedly named Occam Aerospace Research Centre, where the strange goings-on defy a neatly razored explanation,” writes the Telegraph’s Robbie Collin. “Elisa is, for any number of reasons, the kind of role that comes along just once a lifetime. Hawkins meets it with the performance of one.”

“When a secret classified experiment is rolled into the lab in a water tank, Elisa responds not with fear but with fascination and, upon closer inspection, empathy,” writes David Rooney in the Hollywood Reporter. “The fact that the expressive, other-worldly being is played by Doug Jones, who appeared as the similarly amphibious Abe Sapien in del Toro’s Hellboy movies, is an additional sign of the personal thread connecting The Shape of Water to the director’s distinctive body of work. . . . Del Toro and co-writer Vanessa Taylor (Divergent) seamlessly weave in points about societal intolerance toward otherness that pertain no less to a nonhuman discovery than to gay or black Americans in the early 60s.”


“For the all the social insights and cultural asides, the film never feels digressive,” writes Kate Erbland at IndieWire. “For all the veering from one genre to another, neither does it feel rough. Del Toro’s tight directorial control sees to that.”

For news and items of interest throughout the day, every day, follow @CriterionDaily.

from The Criterion Current

On the Channel: Art-House America at Alaska’s Gold Town Nickelodeon


Throughout the country, independent art-house cinemas are essential hubs for moviegoing culture, fostering community through programming that engages with film history. In this exclusive series on the Criterion Channel on FilmStruck, we travel across America and bring back brief documentary portraits of different local art houses, both in major cities and in small towns, along with a selection of films handpicked by their programmers. The series began last year with a celebration of the twenty-fifth anniversary of New York’s Walter Reade Theater, and it continues this month with a visit to Juneau, Alaska. While we were there, intrepid programmer Collette Costa gave us a tour of the Gold Town Nickelodeon, a downtown art house she has turned into a haven for year-round locals living in this transient town, which is both a top cruise-ship destination and the only state capital unreachable by road. Get an intimate look at the theater in the clip above, then head to the Channel for the full episode and a series of eight films (including Insomnia, Babette’s Feast, and Nanook of the North) that evoke what it feels like to live in Alaska without having been made there.

from The Criterion Current

I settant'anni dell'agenzia Magnum Photos celebrati in un volume da collezione

Contrasto pubblica Magnum Manifesto, il libro realizzato per celebrare il settantesimo anniversario della più grande agenzia fotogiornalistica al mondo, Magnum Photos. Un volume irrinunciabile le cui pagine gettano uno sguardo nuovo e approfondito sulla storia e sull'archivio dell'agenzia, analizzano il lavoro dei più importanti fotografi Magnum e permettono di comprendere per quale motivo la Magnum sia così diversa dalle altre realtà del mondo della fotografia, così unica e leggendaria.

Un autore Magnum deve saper comunicare, emozionare e al tempo stesso documentare la realtà. L'autore e curatore Clément Chéroux, aiutato da Clara Bouveresse, dimostra in questo libro come la Magnum Photos debba la sua eccellenza proprio a questa capacità dei fotografi membri di abbracciare sia l'arte che il giornalismo; la fotografia come creazione personale ma anche come testimonianza.

Il libro è suddiviso in tre parti: la prima osserva l'archivio di Magnum attraverso una lente umanista e si concentra su quegli ideali di libertà, uguaglianza, partecipazione e universalismo che emersero dopo la Seconda guerra mondiale nel mondo. La seconda mostra la frammentazione del mondo raccontata dai fotografi membri dell'agenzia tra gli anni Settanta e Novanta del Novecento, con uno sguardo particolare alle sottoculture, alle minoranze, agli esclusi. La terza, infine, segue le diverse forme espressive con cui gli interpreti di Magnum hanno catturato i mutamenti del mondo e i pericoli che lo minacciano.

Oltre a presentare i progetti individuali e collettivi realizzati nel corso degli anni, il libro raccoglie anche copertine di riviste, estratti di articoli di giornale e di libri, inserendo nel loro contesto creativo alcune tra le immagini più note al mondo. Arricchito da schede relative ai singoli autori, selezionati tra i novantuno membri di Magnum, da un'antologia di testi inediti e da una cronologia, Magnum Manifesto è un volume curato nei minimi dettagli, una raccolta fondamentale di immagini e testi.

“Magnum è un gruppo di fotogiornalisti eccezionali che viaggiano in tutto il mondo per fotografare avvenimenti storici” | “Magnum è un'organizzazione tenuta insieme da un'intangibile colla di sogni e speranze” | “Magnum è un'idea, un concentrato di tradizioni, uno stato emotivo” | “Magnum cambia e si rinnova costantemente” | “Magnum è un anacronismo, e dovrebbe fare di tutto per continuare a esserlo” | “Magnum è un paradosso” | “Magnum è un mito e un imbroglio” | “Magnum è il massimo” | “Magnum è una specie di miracolo fin dalla sua nascita” | “Magnum è una miniera di contraddizioni” | “Magnum è fotografia”.
(Citazioni di Inge Bondi, Wayne Miller, Clara Bouveresse, Lee Jones, John G. Morris, Antoine D'Agata, Marc Riboud, David Seymour, Clément Chéroux e Henri Cartier-Bresson).

Clément Chéroux è curatore per la fotografia presso il Museum of Modern Art di San Francisco. Storico della Fotografia, ha insegnato all'Università di Paris I, Paris VIII e all'École nationale supérieure de la photographie di Arles.

Clara Bouveresse è storica della Fotografia con una specializzazione in Storia dell'Arte presso l'Università di Parigi Panthéon-Sorbonne.

FORMATO: 24,5 x 29,5 cm
FOTOGRAFIE: 510 ca. a colori e in bianco e nero
CONFEZIONE: cartonato con sovraccoperta in pvc
PREZZO: 69,00 euro

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[The Daily] Telluride 2017


The forty-fourth Telluride Film Festival runs from September 1 through 4, and this entry will serve as an index to the coverage of the coverage. For Variety, Kristopher Tapley talks with TFF executive director Julie Huntsinger, noting “the prevalence of female filmmakers on the main program slate. Of the 30 titles, nine were directed by women. ‘There’s not some agenda that we ever set out with,’ Huntsinger cautions. ‘[Festival co-founder] Tom [Luddy] and I sit down and watch movies, and the ones we respond to the most are the ones that we select. I think [this prevalence] speaks to female directors working and wanting to tell important, interesting, exceptional stories.’”


Arthur Miller: Writer, directed by Rebecca Miller.

Battle of the Sexes, Valerie Faris and Jonathan Dayton. Image above.

Darkest Hour, Joe Wright.

Downsizing, Alexander Payne. Reviews from Venice and Toronto.

Eating Animals, Christopher Quinn.

Faces Places, Agnes Varda and JR. Cannes.

A Fantastic Woman, Sebastián Lelio.

Film Stars Don’t Die in Liverpool, Paul McGuigan.

First Reformed, Paul Schrader. Venice and Toronto.

First They Killed My Father, Angelina Jolie.

Foxtrot, Samuel Maoz.

Hostages, Rezo Gigineishvili.

Hostiles, Scott Cooper.

Human Flow, Ai Weiwei.

The Insult, Ziad Doueiri.

Lady Bird, Greta Gerwig.

Land of the Free, Camilla Magid.

Lean on Pete, Andrew Haigh.

Loveless, Andrey Zvyagintsev. Cannes.

Love, Cecil, Lisa Immordino Vreeland.

Loving Vincent, Dorota Kobiela and Hugh Welchman.

A Man of Integrity, Mohammad Rasoulof.

The Other Side of Hope, Aki Kaurismäki. Critics Round Up.

The Rider, Chloé Zhao. Cannes.

The Shape of Water, Guillermo del Toro.

Tesnota, Kantemir Balagov.

The Venerable W., Barbet Schroeder.

The Vietnam War, Ken Burns and Lynn Novick.

Wormwood, Errol Morris.

Wonderstruck, Todd Haynes. Cannes.

Two documentary shorts, Heroin(e), directed by Elaine McMillion Sheldon, and Long Shot, directed by Jacob LaMendola, will also screen together in the main program.


Revival Selections by Joshua Oppenheimer

Even Dwarfs Started Small (1970), Werner Herzog. Critics Round Up.

Hotel of the Stars (1981), Jon Bang Carlsen.

The Night of the Hunter (1955), Charles Laughton. Critics Round Up.

Salam Cinema (1995), Mohsen Makhmalbaf.

Titicut Follies (1967), Frederick Wiseman. Critics Round Up.

The Umbrellas of Cherbourg (1964), Jacques Demy. Critics Round Up.

Additional film revival programs, all newly restored, include Marcel Pagnol’s The Baker’s Wife (1938); Francis Ford Coppola’s Cotton Club Encore (1984/2017); Aleksandr Volkoff’s Kean, or Disorder and Genius (1924), with the Mont Alto Orchestra; and Carl Junghan’s Such is Life (1929).


Behind-the-scenes movies and portraits of artists, musicians and filmmakers

Cinema Through the Eye of Magnum, Sophie Bassaler.

Filmworker, Tony Zierra. Cannes.

Hitler’s Hollywood, Rüdiger Suchsland.

Jamaica Man, Michael Weatherly.

Portrait of Valeska Gert (1977), Volker Schlöndorff, and Edge of Alchemy, Stacey Steers.

Slim Gaillard’s Civilisation (1989), Anthony Wall.

That Summer, Göran Hugo Olsson.

For news and items of interest throughout the day, every day, follow @CriterionDaily.

from The Criterion Current

Venezia 74: l'attore Giuseppe Maggio al festival con "Un amore così grande"

Giuseppe Maggio presenterà alla Mostra internazionale d'arte cinematografica di Venezia il film “Un amore cosi grande” e sarà tra i testimonial della Onlus “Medicinema”. Prosegue l'ascesa dell'attore Giuseppe Maggio, che negli ultimi anni ha collezionato numerosi successi sia sul grande che sul piccolo schermo. In occasione della 74esima edizione della Mostra Internazionale d'arte cinematografica di Venezia, Maggio prenderà parte alla presentazione, in formato trailer, del film “Un amore cosi grande”. Nell'attesissima pellicola sul mondo dell'opera, prodotta dalla AC Production di Federica Andreoli e Michele Calì e diretta da Cristian De Mattheis, Giuseppe interpreterà il ruolo di Vladimir, aspirante cantante lirico, alle prese con un'appassionata storia d'amore con Veronica, nata all'ombra dell'Arena di Verona. Nel cast del film spicca la partecipazione dei ragazzi del trio Il Volo . La presentazione di “Un amore cosi grande” si terrà venerdi 1 settembre, alle ore 12.30, presso lo spazio Regione Veneto all'interno dell'Hotel Excelsior a Venezia Lido. Lunedì 4 settembre, alle 16.30, presso lo spazio Italian Pavilion, Sala Tropicana dell'Hotel Excelsior, verranno presentati i nuovi progetti della Onlus Medicinema che vedrà tra i talent testimonial anche Giuseppe Maggio, da sempre attento ai temi legati al Sociale. Due prestigiose occasioni per poter apprezzare l'attore, già applaudito protagonista al cinema in film quali “Un fantastico via vai” di Leonardo Pieraccioni e “Almeno tu nell'universo” di Andrea Biglione, oltre che in televisione nelle fiction “ Il bosco” di Eros Puglielli e “ Una grande famiglia, 20 anni prima”, dove interpretava il personaggio portato al successo da Alessandro Gassmann da giovane. Inoltre, Giuseppe Maggio ha preso parte al cortometraggio “Uno studente di nome Alessandro”, diretto da Enzo de Camillis, vincitore del Nastro d'argento 2011.

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Trentino Alto-Adige, dal 7 al 27 settembre: al via il festival Transart


Dal 7 al 27 settembre ritorna il festival di cultura contemporanea Transart.

La rassegna, giunta alla 17esima edizione, attraverserà i luoghi più singolari del Trentino-Alto Adige: fabbriche e baite, pascoli d'alta quota, innovativi parchi tecnologici e caserme abbandonate, giardini segreti, strade, case private e aule studio universitarie. Il lungo filo rosso del festival unisce punti sorprendenti della geografia della regione e invita il pubblico a vivere esperienze dilatate nel tempo, in una danza senza sosta nell'arco di un mese: dentro un'immaginaria Torre di Babele costellata di incontri e performance, su un prato in alta quota insieme a 99 percussionisti, davanti a cubi di luce pulsanti, in ascolto dei suoni dell'aurora boreale, a contatto con le esperienze artistiche germinate a Ouagadougou, capitale del Burkina Faso, o nel cuore, ancora dolente, della nostra nazione, con un Requiem musicale dedicato alle vittime del terremoto del centro Italia.

Fra gli appuntamenti da non perdere: un focus sulla scena artistica canadese, il format CULT.night che attraverserà tutti gli spazi - anche quelli più inaspettati - del Teatro Comunale di Bolzano, un omaggio musicale e visivo a David Lynch, il clubbing di The Italian New Wave con l'acclamato Club To Club Festival, il ritorno del genio di Roman Signer e John Luther Adams e tante prime assolute, fra cui quella di Ingrid Hora, dedicata ad antichi e neri rituali della fertilità in Val Venosta.

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[The Daily] Venice + Toronto 2017: Lucrecia Martel’s Zama


“Lucrecia Martel is the elusive poet of Latin-American cinema, missing believed lost, the Mary Celeste in human form,” begins the Guardian’s Xan Brooks. “She made La Cienaga and The Holy Girl; split the Cannes audience in two with her brilliant, maddening The Headless Woman. And then, all at once, Martel seemed to vanish. . . . Now Martel is back, after a nine-year absence, with the astonishing Zama, adapted from a novel by Antonio Di Benedetto, about an 18th-century Spanish colony perched on the Asuncion coast. Her film is haunted, haunting and admittedly prone to the occasional longueur insofar as it runs to its own peculiar rhythm; maybe even its own primal logic. It arrives in Venice as if blown in from another world.”

A “Spanish crown officer’s exasperated wait for a royal transfer from his lowly South American posting spirals out into a full-blown tropical malady,” writes Variety’s Guy Lodge. “Perplexing and intoxicating in equal measure, Zama is undeniably challenging in its adherence to a mannered, densely narrated literary source: As storytelling, it makes Martel’s last feature, the brilliantly opaque The Headless Woman, look like Agatha Christie. But it honors Di Benedetto’s work by strictly cinematic means, and to formally mesmerizing effect: The frustrating nine-year wait for new material from Martel has done nothing to blunt her exquisite, inventive command of sound and image, nor her knack for subtly violent exposure of social and racial prejudice on the upper rungs of the class ladder.”

“Unlike ostensibly similar slow-cinema films, such as Jauja by her countryman Lisandro Alonso, Martel’s leisurely pacing does not connote a paucity of action or intrigue,” writes Jessica Kiang at the Playlist. “If anything, Zama’s sluggish rhythms belie a surfeit of incident: Every scene is steamy with background activity, the air thick with hidden motivations and unspoken crosscurrents. It is heady and tactile, with Tabu DP Rui Poças creating exquisitely precise frames, and sound designer Guido Berenblum then coloring in a whole universe of chirruping crickets and stagnant waters outside them. Every close up is a portrait and every wide a tableau: at one point Zama is taken to task by a sour-tempered superior and we can actually hear the old man blink.”

“Few films have done more to unite the international film community than Zama,” suggests Ben Croll at IndieWire. “The nominally Argentinian film is a joint venture between nine other countries as well, and the end credits name figures as diverse as Danny Glover, Pedro Almodóvar, and Gael Garcia Bernal among the many other who jumped on to help this project through a troubled, many year production. Finally complete, Lucrecia Martel’s film promises to be significantly more divisive.”

“During all the years that I have been working on this film and other useless things, I did not feel a rupture,” Martel tells Nicolas Rapold in the New York Times, where he notes that, “Yes, there was a science-fiction production that failed to launch after more than a year and a half of work; a shoot on Zama lasting over two months; a protracted edit on the film, her longest ever; and somewhere in there, she got sick, bad enough to take a break. But Zama has arrived.”

Two years ago, Diego Lerer visited the set for Sight & Sound. There, she told him, “I have 1,000 things to say against the idea of making a novel into a film. But I found a really genuine motive, based on my own experiences and emotions, which made me feel that it was really worth it. Zama is a novel about a very different Latin America to the present one, and it transmits a fascination for something that doesn’t exist any more, for a continent that is no longer that way: undefined, diffuse, of immense expanse.”

“Things that just occur to you aren’t ideas,” says Martel in a conversation with Manuel Kalmanovitz that ran in Terremoto in February. “I’ve read thousands of screenplay pages that are lousy with things that have occurred to people —but don’t have a single idea. . . . You’ve got to be really patient, avoid the vanity of being productive.”

For news and items of interest throughout the day, every day, follow @CriterionDaily.

from The Criterion Current

Safari: una clip esclusiva del film di Ulrich Seidl

Il film, che racconta la caccia agli animali della savana, arriva in sala il 1° settembre.

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Goldie Hawn torna al cinema con Fottute!, l'intervista all'attrice

La star veterana divide lo schermo con Amy Schumer e ci racconta qualcosa di se stessa e del film in uscita il 7 settembre.

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Dunkirk è al cinema: ecco dove vedere il film

I cinema di Roma, Milano e di tutta Italia che hanno in programmazione il nuovo film di Christopher Nolan.

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Justice League: Joss Whedon è ufficialmente cosceneggiatore

Subentrato a Zack Snyder alla regia, non sarà accreditato come regista ma gli sarà riconosciuto il contributo al copione.

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Venezia 74 - Downsizing

Scelto per l'inaugurazione della settantaquattresima Mostra del Cinema di Venezia, Downsizing di Alexander Payne, va subito detto, delude e affossa il ricordo del fulgore di La La Land, che aveva aperto la rassegna del Lido lo scorso anno iniziando la sua trionfale carriera conclusa con sei Oscar, compreso quello per la regia. Per la prima mezz'ora tutto sembra funzionare a meraviglia, e uno stato di letizia pervade il cuore e lo sguardo, accompagnati da una perfezione di regia che non perde nemmeno un'occasione per cadenzare il racconto con tocchi scintillanti e dettagli immaginifici che sfruttano appieno l'idea visiva fortissima del rimpicciolimento in laboratorio degli esseri umani, proposto da un team di scienziati norvegesi per ovviare ai problemi e agli inconvenienti di una crisi energetica mondiale a serio rischio di sputtanamento definitivo del Pianeta. L'inedito (ma in fondo nemmeno troppo) immaginario cinematografico di Payne aggiunge suggestioni convincenti al ricordo dei lillipuziani di Swift, dell'Incredible shrinking man di Jack Arnold (e della woman di Joel Shumacher), e dello Zio Paperone disegnato dall'italiano Romano Scarpa, che rimpicciolisce i suoi impiegati con un raggio inventato da Archimede Pitagorico per risparmiare su spazi e materiali. Se il film avesse proseguito, per i suoi restanti 90 e passa minuti, nell'illustrare questo “mondo piccolo” reinventato secondo i codici di una felicità terrena da Truman Show, avrebbe forse raggiunto un risultato assai più convincente della parabola in cui, dopo una buona mezz'ora, vira malauguratamente per naufragare in un confuso racconto tirato per i capelli tinteggiato di ecosostenibilità, buonismo, e risvolti politici e sociologici che presto scivolano nell'imbarazzante e nell'inutile, spacciando per urgente un'emergenza da fine del mondo che, in tempi di folli Presidenti USA suonano come il quotidiano al lupo al lupo che viralmente ci infesta le bacheche di facebook e ci porta istintivamente a far scattare la disattivazione delle notifiche. Occasione perduta per un regista che, dopo esordi notevoli e promettenti, non riesce più ad acquisire una fisionomia e un peso tali da conquistarsi un posticino sul podio dei grandi autori “popolari” del cinema USA, accanto a papà Spielberg e zio Ron Howard. Non si contano, da un certo punto in avanti, le falle imperdonabili: prima fra tutte il sottoutilizzo di Christoph Waltz, che si ritrova ad annaspare senza sapere che fare né dove guardare per dare corpo al suo personaggio, quasi oscurato dal molto più rifinito cammeo di Udo Kier: a entrambi spetterebbe il ruolo di smontare, da esotici e decadenti Europeans, l'edulcorato American Dream di Leisureland, la colonia in cui va a rifugiarsi Matt Damon (il solo che sembra credere davvero alla fallimentare operazione imbastita da Payne) per far fronte a una vita di debiti, bollette e frustrazioni economiche. Ma le infelici intrusioni nell'orwelliano disincanto dell'altra faccia di un finto e idealizzato mondo di palestre, massaggi e campi da golf, spezzano la magia, e il film miseramente frana in una malgestita e poco attraente denuncia degli oggettivi e attuali mali del vivere contemporaneo, per spegnersi in un poco opportuno pianissimo in diminuendo (causa dei timidi e imbarazzati applausi che hanno accolto il termine della proiezione stampa) dopo una delle più brutte e sconcertanti battute conclusive della storia del cinema (vedere per credere…).

(Downsizing); Regia: Alexander Payne; sceneggiatura: Alexander Payne, Jim Taylor; fotografia: Phedon Papamichael; montaggio: Kevin Tent; musica: Rolfe Kent; interpreti: Matt Damon, Christoph Waltz, Udo Kier, Kristen Wiig; produzione: Annapurna Pictures; distribuzione: Paramount Pictures, Annapurna Pictures; origine: USA, 2017; durata: 135'

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Blade Runner 2049: svelata la durata del sequel di Blade Runner

Il film di Denis Villeneuve con Ryan Gosling, Harrison Ford e Jared Leto arriverà a 163 minuti.

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Venice 2017: Early days

Mostra 700

DB here:

After the triumph of Rosita (more on that to come), the first full day of the Biennale launched with several press screenings and press conferences. The opening conference featured Festival President Paolo Baratta (below), Director Alberto Barbera, and jury heads including Annette Bening (below), Benoît Jacquot, and John Landis (below).

Annette 600

During that session, two subjects recurred: Netflix and Virtual Reality. Some Netflix films are playing out of competition: Our Souls at Night, with Robert Redford and Jane Fonda (who will get honorary Golden Lion awards); and Netflix’s first Italian production, Suburra. In addition, the Mostra will show all the episodes of Errol Morris’s Netflix series Wormwood. Barbera remarked that festivals must follow where auteurs lead. Now that so many filmmakers are directing telefilms and series “with the same attitude” they employ in theatrical features, festival progamming must take notice.

Barbera 2 300Similarly with VR. Baratta pointed out that this medium is now being used by artists, and Venice has a historical and aesthetic obligation to keep up with moving-image explorations. Barbera added that for him VR was not the future of movies; it’s a new medium that will exist alongside them. Just as film didn’t kill theatre and television didn’t kill film, VR is likely to flourish on its own. It will likely have its dedicated venues, such as MK2’s VR theatre in Paris and similar spots in Amsterdam.

John Landis admitted that he was intrigued by VR and wanted to learn how to use it. Can it tell a full-length story? (Most VR pieces are short and situation-bound.) Can it focus the viewer’s attention—a key component of traditional visual narrative? Landis noticed that his experiences of VR gave the viewer great freedom of when and where to look. Could storytelling harness that freedom? It was good to see a filmmaker pondering these basic issues.

We saw the first screening of Alexander Payne’s Downsizing, a sharp and heartfelt satire on consumerism and ecology. Matt Damon and Kristen Wiig play a couple who decide to take advantage of a new technology that shrinks humans to 5-inch heights, and thus allows them to live more cheaply and reduce the strain on the planet.

The situation takes several unpredictable turns and in the face of impending disaster veers into a Capraesque optimism. Yet there’s a somberness here too, perhaps most akin to that in About Schmidt. Alexander mentioned Chekhov as an influence, and he admired the writer for realizing that emotional effects stand out against “a cold background.” The clinical scientific milieu of the downsizing operation and the arid cheerfulness of Leisureland, a sort of micro-EPCOT, provide that backdrop for the problems facing tiny Matt Damon.

In the press conference, Damon called Alexander’s direction meticulous and “sure-handed.” That shows in the film: No bouncy-camera grab-and-go, but precisely staged scenes. One sequence, that showing the medical mechanics of the downsizing process, is shot for shot as cogent and engaging a stretch of cinematic storytelling as I’ve seen in a long while. There’s also a good gag when Damon wakes up from the surgery and immediately…well, I can’t spoil it. Below, here are Jim Taylor, co-screenwriter; actor Hong Chau, who plays a Vietnames dissident; Payne; and Damon.

Payne 600

Our old friend Mark Johnson produced the film. It was encouraging to see the huge press turnout and the excellent reviews (Variety Hollywood Reporter, The Wrap) that Downsizing got. It goes immediately to Toronto.

Thanks to Peter Cowie, Alberto Barbera, Michela Lazzarin, and all of their colleagues for inviting and assisting us.

We have a blog entry devoted to Alexander Payne here, where he mentions his and Jim’s long-germinating plans for Downsizing. Kristin compares his work to Chekhov there too.

Lion 400

from Observations on film art

mercoledì 30 agosto 2017

La storia dell'amore

La difficoltà di essere vecchi come di essere giovani in un mondo percepito come in guerra con se stesso
* * * - - (mymonetro: 3,00)

Regia di Radu Mihaileanu. Con Derek Jacobi, Sophie Nélisse, Gemma Arterton, Elliott Gould, Mark Rendall, Torri Higginson, William Ainscough, Alex Ozerov, Jamie Bloch, Lynn Marocola, Nancy Cejari, Marko Caka.
Genere Drammatico - Francia, Canada, Romania, USA, 2016. Durata 134 minuti circa.

Leo, Bruno e Zvi crescono in un villaggio ebraico della Polonia di inizio Novecento innamorati della stessa ragazza, la bellissima e volubile Alma, che promette a tutti e tre di sposarli, uno dopo l'altro. In realtà Alma ama solo uno dei tre, e il fortunato è Leo. Quando Alma, davanti all'avanzare del nazismo, viene spedita dal padre negli Stati Uniti, Leo promette di raggiungerla e nel frattempo di spedirle, insieme alle sue lettere, i capitoli di un grande romanzo che sta scrivendo sulla loro storia d'amore.

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Easy - Un viaggio facile facile

La rivincita di un ex pilota di formula uno caduto nella morsa della depressione.
* * * - - (mymonetro: 3,44)

Regia di Andrea Magnani. Con Nicola Nocella, Libero de Rienzo, Barbara Bouchet, Ostap Stupka, Veronika Shostak.
Genere Commedia - Italia, Ucraina, 2016. Durata 91 minuti circa.

Isidoro, per i familiari Easy, ha 35 anni ed è stato una promessa dell'automobilismo competitivo fino a quando non ha cominciato a prendere peso. Ora vive con la madre e si imbottisce di antidepressivi. Fino al giorno in cui il fratello gli chiede un favore speciale: un operaio ucraino è morto sul lavoro e la salma va riportata in Ucraina senza troppe formalità. Easy può così tornare a guidare...un carro funebre.

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A Ciambra

Opera seconda del regista di Mediterranea
* * * - - (mymonetro: 3,00)
Consigliato: Sì
Regia di Jonas Carpignano. Con Pio Amato, Koudous Seihon.
Genere Drammatico - Italia, Francia, Germania, 2017. Durata 117 minuti circa.

Pio, 14 anni, vive nella piccolo comunità Rom denominata A Ciambra in Calabria. Beve, fuma ed è uno dei pochi che siano in relazione con tutte le realtà presenti in zona: gli italiani, gli africani e i suoi consanguinei Rom. Pio segue e ammira il fratello maggiore Cosimo e da lui apprende gli elementi basilari del furto. Quando Cosimo e il padre vengono arrestati tocca a Pio il ruolo del capofamiglia precoce che deve provvedere al sostentamento della numerosa famiglia.

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[The Daily] Venice + Toronto 2017: Schrader’s First Reformed


Paul Schrader’s First Reformed premieres in Competition in Venice before screening in the Masters program in Toronto, and the New Yorker’s Richard Brody finds it to be “a fierce film; Schrader, one of the crucial creators of the modern cinema (among his many achievements, he wrote Taxi Driver and directed American Gigolo), seems to have made it in a state of anger, passion, pain, mourning, and desire, held together by the conflicted religious fury—blending exaltation and torment—that runs through all of his films. Schrader is only seventy-one, and I trust that he has many years of artistic creation ahead of him. But First Reformed nonetheless has the feeling of a summation, of a teeming and roiling avowal of his longtime obsessions, from the distant pressure of family life as a child to the repellent politics currently unfolding daily.”

“In an interview in March, Paul Schrader questioned the ongoing usefulness of Slow Cinema,” notes Filmmaker’s Vadim Rizov, and “regardless of how I feel about Schrader’s pronouncement, there’s something very cool about First Reformed, which acts as a form of film criticism and quite credibly engages with the medium it seeks to course correct. . . . At first, Schrader appears to have assimilated the method wholly: we’re in a 1.37 square frame, there’s a very slow and portentous dolly in on a church, and the first few scenes flirt with the staples of this kind of filmmaking: meticulously symmetrical framing, a paucity of dialogue, etc. But two things immediately make this different: before we get to the church where Toller (Ethan Hawke) ministers, we spend some time with him. It’s immediately clear that Schrader is revisiting and revising (and not shy about taking as a template) Diary of a Country Priest, which I’d highly recommend rewatching as prep beforehand if it’s been a while: Toller writes a diary in longhand, and Schrader goes all in with his framing, the precise same overhead tilted-down shots and angles Bresson used.”

TheWrap’s Alonso Duralde takes it from here: “One of Toller’s few parishioners, Mary (Amanda Seyfried) asks him to counsel her husband Michael (Philip Ettinger, Compliance); Mary is pregnant, but Michael, a committed environmental activist, thinks it’s immoral to bring a child into this decaying world. Spending time with Michael convinces Toller that God objects to man’s destruction of the world, which puts him in an awkward position with Barq (Michael Gaston, The Leftovers), a wealthy local industrialist—and major contributor to both churches—who happens also to be a world-class polluter. But First Reformed is less about that plot than it is character, and Schrader and Hawke have collaborated on a searing portrait.”

“Schrader’s new drama blows into town like Jesus at the temple,” writes the Guardian’s Xan Brooks. “It’s here to call out the hypocrites, railing at the way in which Christianity is deployed as a convenient fig leaf by the resurgent American right, or perhaps as a bizarre form of carbon offsetting whereby a historic church makes amends for a toxic river. First Reformed is a deeply felt, deeply thought picture; impressive in its seriousness and often gripping in the way it frames itself as a debate and a sermon. It is also, crucially, a flawed portrait of a flawed man, at war with its baser instincts and in danger of backsliding. And when Schrader’s hero begins to overheat, his film can’t help but follow suit.”

“For a while,” writes Variety’s Owen Gleiberman, “the drama echoes Ingmar Bergman’s Winter Light—a priest in a remote parish haunted by his inability to save souls. Schrader works in a stately, dark-toned style that’s far more compelling than the frenetic genre hash of his last two films, Dying of the Light (2014) and Dog Eat Dog (2016). (The luscious, chocolate-bar cinematography is by Alexander Dynan.) Yet First Reformed remains, at heart, a programmatic highbrow exploitation film. I mean that as a compliment.”

“It's his most effective work as a director since Auto Focus fifteen years ago, but it's a direly bleak affair,” finds the Hollywood Reporter’s Todd McCarthy. “The movie's concerns are obvious, not subtle, and while intellectual energy abounds, laying in subtext, building underlying tension physical and creating visual dynamism are not Schrader's strong suits.”

“Similar to Larry Fessenden’s brand of ecological horror films (The Last Winter, Wendigo), the more twisted elements of Schrader’s storytelling are grounded in a profound socially conscious intent,” writes IndieWire’s Eric Kohn. “That’s especially true in the gripping finale, a suspenseful moment in which Toller confronts his contradictory impulses with a bloody, unexpected act that brings the full scope of the movie’s ambition into focus.”

Meantime, Fresh Air has posted Terry Gross’s 1988 interview with Schrader (19’46”).

For news and items of interest throughout the day, every day, follow @CriterionDaily.

from The Criterion Current

Spider-Man: Homecoming, Jon Watts potrebbe dirigere anche il prossimo episodio

Intanto gli sceneggiatori del film con Tom Holland e Michael Keaton sono stati ufficialmente confermati

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Lord of War (2005)

Lord of War

“The first and most important rule of gun-running is: Never get shot with your own merchandise.” — Yuri Orlov

The opening title sequence of Andrew Niccol’s 2005 film Lord of War, starring Nicolas Cage as arms dealer Yuri Orlov, is a tale of birth and death. The life of a bullet. The death of a child.

The title sequence, conceptualized by Niccol and shepherded by Visual Effects Supervisor Yann Blondel with production studio l'E.S.T., is one that is technically and thematically exceptional. In placing the viewer in the position of an inanimate object on the move and pairing it with an iconic protest song, the film immediately sets itself apart, announcing its artifice while introducing its key ideas. The sequence establishes the narrative world of gunrunning, the story’s wry, tongue-in-cheek tone, as well as the film’s primary motif: the lone bullet.

The bullet in the title sequence is our entry point to the film but it’s also a symbolic representation of main character Yuri Orlov. Just as Forrest Gump is the feather, floating on the breeze and falling haphazardly into his fate, Yuri is the bullet, single-minded and on a deadly and inevitable course. Yuri also wears a bullet around his neck, a constant reminder and talisman of power. The lone bullet is a constant presence, providing the potential for change early on as well as the power behind the climactic scene between Yuri and his brother Vitali.

Object-oriented POV shots are rare in film, and rarer still in title design. Notable examples of object-POV-shot title sequences include 1988’s The Naked Gun, featuring a wailing police siren on the loose, and 1993’s So I Married An Axe Murderer, featuring a giant cup of coffee weaving through a café.

Here, the object is a 7.62×39mm bullet, born in a Soviet Union munitions factory, packed into a crate, shipped over land and sea into a warzone in Africa, loaded into an AK-47, and shot into the head of a child soldier. Placing the viewer in the position of the bullet is startling as well as enveloping. It’s like a finger pointing back, making us complicit, implicating us in the events that unfold for our entertainment. It’s a message so transparent as to be glib, while foreshadowing the climax of the film.

The typography design, angular and clinical, comes care of title design powerhouse Imaginary Forces. It reinforces the detached calculation and cool efficiency of the factory environment and transport journey. The accompanying song, Buffalo Springfield’s “For What It’s Worth (Stop, Hey What's That Sound)”, plays in cocky opposition to the subject matter. The song was written by Stephen Stills after the Sunset Strip curfew riots in Hollywood, California in 1966 and quickly became a well-known protest song, capturing the general unease spreading across America in the late ’60s, becoming an anthem surrounding civil rights and the Vietnam War. The use of the song in Lord of War’s titles gives the opening a warmth and sense of humour that is otherwise absent on the cold conveyor belt of weapons manufacturing. Much like the opening of Dawn of the Dead (2004), which uses Johnny Cash’s “The Man Comes Around”, the sequence’s horrifying visuals gain levity and texture through powerful music.

The sequence is a bold and self-assured overture that cleverly depicts the main thrust of the film, asking difficult questions and packing a punch that lingers long after the end credits roll.

A discussion and visual effects breakdown with Lord of War Visual Effects Supervisor YANN BLONDEL.

Where did the idea of this opening come from? What were the initial discussions like?

Yann: Andrew Niccol had the original idea. The “food chain” idea. It came from Andrew’s brilliant mind. I remember saying that even if we screw it up the sequence will still be brilliant! That said, we felt the pressure: spacecraft, monsters, blowing up cars... all that’s cool but it’s kind of straightforward. Here, all the team was afraid to ruin an amazing idea. What we needed was to keep the…

RSS & Email Subscribers: Check out the full Lord of War article at Art of the Title.

from Art of the Title

Prima visione: 'Easy - Un viaggio facile facile'

Da giovedì 31 in Sala Cervi l'opera prima di Andrea Magnani, bizzarro, divertente, poetico road movie che piacerebbe a Kaurismäki.

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[The Daily] Bravo, Winterbottom, and More


“You could argue that [Janicza Bravo’s] Lemon thinks too much about its own face, its style over its substance,” writes Niela Orr for the Baffler, “but it does so in service of its critique of white male narcissism. To this effect, Lemon is a parody of the alienated white guy hipster indie films that have been a feature of American cinema since the mid-90s. . . . That it took a black woman to direct and co-write such a story is telling. Lemon may be sour, but what isn’t right now?”

“Meditation on aging and actorly narcissism can be a delicate art, particularly when involving that now forlornly unfashionable creature, the midlife heterosexual white man, unheroic after all and adrift in his privilege,” writes Jonathan Kiefer, reviewing Michael Winterbottom’s The Trip to Spain. “Helpfully, maybe, the [Steve] Coogan and [Rob] Brydon characters hail from a long cultural line of tensely symbiotic twosomes: not just Quixote and Panza, but Laurel and Hardy, or Vladimir and Estragon, or Rosencrantz and Guildenstern. Or Scylla and Charybdis? Take your pick.”

“In one sense,” writes Alan Scherstuhl in the LA Weekly, “Steven Spielberg’s 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another . . . Here was Spielberg the wunderkind, at the tail end of the decade of personal Hollywood filmmaking, dramatizing the desire to vault from American malaise and right into fantasy. He wished upon a star, and the movies followed. But don’t let the dreck that arrived in Close Encounters’ wake blind you to its wonder and honesty.”

“While [David] Lynch is largely regarded as patron saint of the weird, his nearly ecclesiastical approach to the supposed aberrance of bodies, erotic desires, sexual orientations, abilities and races undermines the supposed weirdness he depicts,” argues James Rushing Daniel at 3:AM. “For these elements to appear exceptional, there must be a presumptive normal against which the weird is measured. For Lynch, such normalcy ultimately looks a lot like conservative, middle-class American life. To his credit, he often suggests that suburban America is not as innocent as it seems, but he nevertheless continually establishes a dichotomy between good, minimally kooky, salt of the earth folks—Alvin (Richard Farnsworth) in The Straight Story, Sheriff Harry Truman in Twin Peaks (1991)—and deviants. The hostility with which Lynch regards nonconformity, then, ultimately suggests a profound resentment of ‘the weird.’”

“To love and admire [Jerry Lewis’s] work, as I do,” writes Jesse Hawken for the TIFF Review, “is to be forced to overlook or rationalize a lot of hot garbage. The old cliché about ‘separating the art from the artist’ is tailor-made for assessing the career of Lewis, who despite his mercurial persona was undeniably gifted, willing to experiment at great financial and personal cost, and who pioneered some key innovations in the film industry that are still with us today, for better or for worse. Several of his films (as actor and director) represent this paradox: the hateful man who only wants to be loved, the lovable man quick to volcanic anger, the goony-faced manchild who could also channel great charisma, the exacting perfectionist who put out a lot of sloppy work.”


New York. “Exploitation and adult cinema is not exactly known for being friendly to women, but Bronx-born director Roberta Findlay is one of most prolific filmmakers from the Golden Age of porn and genre filmmaking,” writes Alison Nastasi, introducing her interview for Flavorwire. With the Quad showing A Woman’s Torment (1977) tonight as part of its Erotic City series—and Findlay will be there—Nastasi talks with her “about her career directing porn, being a woman in the film and adult industry, and growing up in grimy 70s New York.”

“Among the first of the LGBT biopics, Stephen Frears’s astute Prick Up Your Ears (1987), which traces the fast, furious life of Joe Orton (1933–67), begins, if obliquely, with the British playwright’s murder at the hands of his longtime boyfriend,” writes Melissa Anderson in the Village Voice. “Though the gruesome details of the killing are starkly depicted in the closing minutes, the film never sensationalizes—and just as radically, never sentimentalizes—its central figure.” The week-long run at the Metrograph starts Friday.

And from Friday through Labor Day, BAM presents 4 by Teri Garr, “three comedies and a neo-musical, films immeasurably enhanced by Garr’s vivacity. The quartet spans 1974 to ’85—peak Garr years, but an era when this fizzy phenomenon should have been a bigger star.”

Also in the Voice, Bilge Ebiri: “In some ways, Heat and Dust [1983] (enjoying a re-release in a newly restored version) marks the precise moment at which Merchant Ivory ‘became’ Merchant Ivory.” Friday through Tuesday at the Quad.


Los Angeles. On Friday at midnight, the New Beverly presents Inglourious Basterds (2009), and Kim Morgan’s posted her 2009 interview with Quentin Tarantino.

Chicago. Tonight, the Chicago Film Society presents a 35 mm print of Busby Berkeley’s Gold Diggers of 1935.


Shots Fired actor Stephan James is “in negotiations” to star in Moonlight director Barry Jenkins’s adaptation of James Baldwin’s If Beale Street Could Talk, reports Variety’s Justin Kroll. The story “follows Tish, a newly engaged Harlem woman who races against the clock to prove her lover’s innocence while carrying their unborn child.”

Peter Nicks (The Force) will direct a feature based on Dick Lehr’s book The Fence: A Police Cover-Up Along Boston’s Racial Divide, recounting “the true story of Michael Cox, an African American plainclothes officer who is mistakenly beaten during a police chase and then finds himself on the other side of the ‘blue wall of silence’ as the Boston Police Department covers it up.” Anita Busch has more at Deadline.


“Alan Root, an innovative wildlife filmmaker with a daredevil streak and the scarred body to prove it, died on Saturday in Kenya, where he lived on the edge of the Lewa Wildlife Conservancy near Mount Kenya,” reports Neil Genzlinger for the New York Times. Root was eighty.


On the latest Film Comment Podcast (76’05”), Violet Lucca, Michael Koresky, and Nick Pinkerton present “Movie Gifts” to each other. “As you’ll hear, sometimes it’s difficult to distinguish which film was intended to amuse and which aimed to abuse, but each gift gave way to surprising appreciation and lively conversation.”

With I Do... Until I Don't opening on Friday, writer and director Lake Bell catches up with Rob Corddry on the Talkhouse Podcast (49’30”).

The TIFF Review presents Thom Powers’s 2012 conversation with Sarah Polley (Away from Her, Stories We Tell) (50’37”).

For news and items of interest throughout the day, every day, follow @CriterionDaily.

from The Criterion Current

Flickers of Passion: Celia Johnson in Brief Encounter


Celia Johnson was a bright, sensible, humorous British lady of her time who was devoted to her family and to the theater, in that order. Her filmography is small: only eleven theatrically released features, four of which were based on Noël Coward screenplays. Coward was known mainly for sophisticated comedy, but the four films he made with Johnson are all dramatic, and the most famous of them, David Lean’s Brief Encounter (1945), is melodramatic in that it leans very heavily on the thundering and cascading music of Rachmaninoff’s Piano Concerto No. 2 to express the characters’ repressed emotions.

Johnson’s Laura Jesson in Brief Encounter is a self-described “ordinary woman.” She has large and often staring eyes that always seem to be on the verge of giving her feelings away, and so every time that Johnson widens, lowers, or shifts them there is a great deal of suspense. Laura is a married woman with two young children, and she’s fallen in love with a married doctor named Alec (Trevor Howard), who also has two young children. Fans of Brief Encounter, like playwright Wendy Wasserstein, have long wondered whether Alec might not be a wolf who habitually seduces the women he meets. After all, we never actually see Alec’s wife or children, and the story is related as a flashback strictly from Laura’s point of view.

Johnson has to carry Brief Encounter both with her forlorn face and with her voice, which narrates throughout in a sometimes stream-of-consciousness style. She can be very funny, as when she quickly wishes her irritating and chatty acquaintance Dolly Messiter (Everley Gregg) dead and then instantly takes it back: “That was silly and unkind,” she thinks. Brief Encounter is rarely considered an amusing film, but both Coward and Johnson were noted for their senses of humor, and perhaps there is something funny about her love affair with Alec, even though it seems like the end of the world for Laura.

Laura’s husband, Fred (Cyril Raymond), is a solid, trusting, kindly sort of fellow, unexciting but steady—a husband, in short. And maybe something of a friend, for Laura says on the soundtrack that Fred is the only one wise enough to understand her dilemma, yet he is the only one she cannot tell. It becomes very obvious as Brief Encounter goes on that Laura is surrounded socially by catty, competitive, and unfriendly women and is always trying to avoid them. But Laura seems to like Myrtle Bagot (Joyce Carey), the working-class owner of the teashop where she first meets Alec. The film seems to be hinting that Laura might be happier if she were less trapped by her middle-class suburban milieu, and this is particularly evident in the way Johnson smiles when she sees stationmaster Albert Godby (Stanley Holloway) give Myrtle a good-natured smack on the hind end.

The worrying thing about the way that Johnson plays Laura is that sometimes her eyes will widen until they look so strained that she seems to be on the verge of mental collapse. Even more worryingly, her eyes tend to finally shut down and stare inward in a way that looks like the start of clinical depression. The second time they meet, Alec insists on calling Laura “sane and uncomplicated,” but then he flatters her by saying she can “never be dull.” There’s something off about both what he says and the way he says it. It feels as if he is moving in on his prey. Perhaps Laura isn’t as sane as all that.

Johnson was only thirty-six when she made Brief Encounter, but she looks older, frayed around the edges. Howard was thirty-one, and Johnson wrote to her husband, Peter Fleming, that she felt motherly toward her costar. She also indicated in these letters that she found Howard rather stupid or thick, and perhaps that informs the way that Laura looks at Alec. Howard couldn’t understand why Laura and Alec don’t just sleep together when they go back to an apartment that Alec has borrowed from an unpleasant male acquaintance of his own. Alec does seem to want sex, whereas Laura’s feeling for him is much more mental than physical.

Johnson’s only other really notable feature film role after 1950 was as the formidable headmistress in The Prime of Miss Jean Brodie (1969), where she is unrecognizable with her gray hair and glasses and steely attitude. She worked again with Howard in a TV movie called Staying On (1980), and this is a real find for Brief Encounter addicts because they play an old couple who have lived out their years in India. While watching Staying On, it is easy to fantasize that this is an elderly Laura and Alec who have somehow managed to go off together, which is unthinkable in the contained world of Brief Encounter. For Brief Encounter is finally a deliriously and seductively sick movie about luxuriating in being blocked and defeated by forbidden love.

Johnson plays her key scene in Brief Encounter by lowering those hypnotic eyes of hers under heavy lids. Laura and Alec are sitting in the teashop, and she encourages him to talk about his work. Johnson shows us the exact moment when Laura falls in love with Alec, which occurs when he is speaking of “fibrosis of the lungs.” Love begins to happen just behind her eyes, which flicker slightly as the camera moves in gently on her face. “You suddenly look much younger, almost like a little boy,” she tells Alec, and we can see that Laura’s love is partly a mother’s love for a child.

Johnson was mothering her first child and also the children of her widowed sister and her widowed sister-in-law during World War II, and so this line is her entrance into the role for which she is remembered. Whatever “falling in love” is, Johnson does it full out for this brief scene in a way that no one else ever had before or has since. It is still an event, and still mysterious.


Dan Callahan is the author of Barbara Stanwyck: The Miracle Woman (2012) and Vanessa: The Life of Vanessa Redgrave (2014). He writes about film for Sight & Sound, Film Comment, Nylon, and several other publications.

from The Criterion Current

Dove cadono le ombre: il trailer e le foto esclusive del film di Valentina Pedicini

In uscita il 6 settembre, la favola nera ispirata allo sterminio scientifico dei bambini Jenisch sarà al Festival di Venezia.

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[The Daily] Venice + Toronto 2017: Payne’s Downsizing


“Can there be any clearer signal of reality warping as we hurtle toward imminent apocalypse than the fact that Alexander Payne has made a life-affirming film?” asks Jessica Kiang at the Playlist. “Venice opener Downsizing takes the long road getting there, and it’s a journey full of witty, skittish, scenic detours leading to the occasional dead end. But the ride is not only peppered with moments of inspired humor, it’s also peopled by characters who are expressly, unapologetically likable, so that by its unexpectedly chipper ending, it’s been an enjoyable, broadly accessible and wonkily heartfelt good-time-at-the-movies. It’s about humanity gaining the power to shrink to one-twelfth of its size, but it’s Payne’s most expansive film by roughly the same proportion, inverted.”

“Films about tiny little people in a big world—The Borrowers, the Honey I Shrunk… franchise—gain much of their dramatic traction by focusing on how not to get eaten by cats and other survival skills,” writes Lee Marshall in Screen. “Alexander Payne’s follow-up to Nebraska (2013) offers a different take on mini-men. What if human shrinkage were promoted for environmental reasons, to reduce our impact on a polluted planet with dwindling natural resources? And what if flawed humans, faced with a global economic downturn, immediately latched on to the process for another more selfish motive—because in a downsized world, you can live like a king for a fraction of what it would cost in the big country?”

“Matt Damon stars as Paul Safranek, an overstretched man in an overstretched world, working as an occupational therapist down at Omaha Steaks and still living in the house where he was born,” writes the Guardian’s Xan Brooks. “Paul hungers for a fresh start and finds it courtesy of the newfangled technique of ‘cellular miniaturization,’ which promptly shrinks the recipient to a height of five inches. This technique has apparently been pioneered by scientists out in Norway, although one might just as easily claim that Payne has been doing it for years. Films like Election, Sideways, and Nebraska, for instance, spotlighted a burgeoning crisis in American masculinity, focusing on men who fear that they’re seen as small by the world. With the excellent Downsizing, Payne has simply gone that extra mile.”

“Once the transition has taken place, Payne and his co-writer Jim Taylor wring out the concept for everything it’s worth,” writes the Telegraph’s Robbie Collin, “and their plot makes so many left turns it’s easy to temporarily forget which way is forward. The star-studded supporting cast”—including Kristen Wiig as Paul’s wife, Audrey, and Jason Sudeikis as his best friend—“who nudge Paul’s life onto a series of unexpected new tracks, are all given entrances like they’re suddenly emerging from behind the curtain at a panto—not least Christoph Waltz, who gives an uproarious turn as Damon’s neighbor, a Serbian playboy called Dusan, and Udo Kier as his improbable friend and business associate, an impeccably turned-out yachtsman.”


It’s “the most whimsically outlandish film of Payne’s career,” finds Variety’s Owen Gleiberman, “though that doesn’t mean it’s made with anything less than his usual highly thought-out and controlled master-craftsman bravura. Downsizing is an ingenious comedy of scale, a touching tale of a man whose problems grow bigger as he gets smaller, and an earnest environmental parable. It all adds up to a film that risks, at times, becoming a little too much, yet Payne . . . has made that rare thing: a ticklish and resonant crowd-pleaser for grown-ups.”

“Matt Damon's Paul Safranek is like the hero of a Frank Capra or Preston Sturges film of seventy-five years ago, an ordinary man who has a certain sort of greatness thrust upon him,” writes the Hollywood Reporter’s Todd McCarthy. “At the same time, the movie is a highly sophisticated creation that, due to its off-hand, underplayed presentation of the future, essentially seems to be taking place in the present day.”

Downsizing sees Payne and Taylor working on a larger palette than usual, but like their shrunken characters, the filmmakers’ humor and their sharp observation of the human condition have survived the change in size and scope,” finds Alonso Duralde at TheWrap.

“It’s the first time I’ve done a visual effects movie, so it was a lovely education on how to make one,” Payne tells Deadine’s Nancy Tartaglione. “Look at all these people making visual effects films all the time, making crappy ones at that. How hard can it be? The point is to use it well and make sure—I’m saying the obvious—it always serves the story.”

For news and items of interest throughout the day, every day, follow @CriterionDaily.

from The Criterion Current

Top Gun 2 cambia sceneggiatore ma non rallenta

Il film è sempre previsto in sala per l'estate del 2019, mentre l'infortunio di Cruise non metterà a repentaglio la tabella di marcia.

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Blade Runner 2049: il corto Nexus 2036 introduce Jared Leto

Un cortometraggio pubblicato da Collider è il primo di un breve ciclo che collega il film del 1982 al sequel di Denis Villeneuve.

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Ben Affleck potrebbe dirigere il fratello Casey in Red Platoon

Il prossimo film da regista dell’attore racconta l'eroica impresa del sergente maggiore Clinton Romesha.

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Open Water 3 - Cage Dive

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Regia di Gerald Rascionato. Con Joel Hogan, Josh Potthoff, Megan Peta Hill, Pete Valley, Mark Fell, Christopher Callen, Tara Wraith, Teagan Berger, Chris Bath, Robert Ovadia.
Genere Drammatico - Australia, 2017. Durata 80 minuti circa.

Tre amici californiani si recano in Australia per girare un video subacqueo sulle loro immersioni tra gli squali, da utilizzare poi come provino per un reality show estremo chiamato Shark Cage Diving. Qualcosa però non va per il verso giusto, la loro imbarcazione viene sorpresa da un'enorme onda che spazza via ogni cosa. I tre rimangono quindi soli in mezzo all'oceano in balìa degli squali affamati. Riusciranno a salvarsi?

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Operazione Dynamo: la storica evacuazione di Dunkirk secondo Nolan
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Regia di Christopher Nolan. Con Tom Hardy, Cillian Murphy, Mark Rylance, Kenneth Branagh, Aneurin Barnard, Harry Styles, Jack Lowden, Fionn Whitehead, James D'Arcy, Kevin Guthrie, Elliott Tittensor.
Genere Azione - USA, Gran Bretagna, Francia, 2017. Durata 106 minuti circa.

Il film inizia con centinaia di migliaia di truppe britanniche e alleate circondate dalle forze nemiche. Intrappolate sulla spiaggia con le spalle al mare si trovano ad affrontare una situazione impossibile con l'avvicinarsi del nemico.

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martedì 29 agosto 2017

Robin Hood: Origins con Taron Egerton posticipato al settembre 2018

Il film che vede nel cast anche Jamie Foxx originariamente sarebbe dovuto uscire negli States il prossimo marzo

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[The Daily] Revolution, Ethics, and More


We’re “in dire need of revolutionary narratives,” writes Dan Hassler-Forest. And he grants that a few Hollywood blockbusters have made a stab at it, specifically calling out The Hunger Games, Rogue One, and Mad Max: Fury Road. “But Hollywood’s most provocative contemporary dramatization of political revolution is the resuscitated Planet of the Apes franchise. While the first film in the original cycle famously ends with one of the most iconic images of post-apocalyptic catastrophe, the Apes saga insistently combined Swiftian social satire with allegorical depictions of civil rights issues, the unholy alliance between science and the military-industrial complex, and political activism.”

Also in the Los Angeles Review of Books, Joseph G. Kickasola writes about Robert Sinnerbrink’s illuminating book, Cinematic Ethics: Exploring the Ethical Experience through Film: “Given the book’s title, one might expect a comprehensive theory of ethics in cinematic experience, but Sinnerbrink’s target is narrower. He articulates and defends a single assertion: film doesn’t just ‘illustrate’ but actually does ethics on an experiential level. In the ‘doing’ of ethics cinematically, he argues, we can approach the larger ethical questions with a more robust understanding.”

Along with fellow cinematographer Ed Lachman, Vittorio Storaro will be giving a masterclass at the New York Film Festival this fall. Now Movie City News alerts us to a roundtable discussion of Francis Ford Coppola’s Apocalypse Now (1979) that originally appeared in American Cinematographer. Participants include cinematographers Stephen Burum, John Bailey, and Dante Spinotti.

Justin Chang’s tweeted a list that he and fellow Los Angeles Times critic Kenneth Turan have put together, “twenty-five films from the past twenty years that deserve more attention. Not a definitive list, just twenty-five we love.”

Laurent Kretzschmar has posted two more columns that Serge Daney wrote for Libération in 1988, the first one on Peter Weir’s Witness (1985). “A film starts in one direction, forks, changes its mind, takes a deviation and comes back—wise to the world—to its starting point. This freedom to digress, usually accepted for writers, so cruelly lacks filmmakers that we’re grateful to Peter Weir to have, even modestly, found it back.”

And the second: “Appalled by the recent offsprings, Rambo 2 and 3, we remain cool-headed enough to recognise the initial qualities of Rambo 1 (directed by Ted Kotcheff). How did John Rambo, the Vietnam hero, become a maddened beast, the films asks.”

Ruben Östlund won a Golden Bear for his one-take short Incident by a Bank in 2010

For or Guernica, Aurora Prelević talks with Mirjana Karanović, whose directorial debut, A Good Wife, screened at Sundance last year. “Karanović has been a star of the stage and screen in the Balkan peninsula for decades—before, during, and after the Yugoslav Wars of the 1990s. Her breakout role came in Emir Kusturica’s When Father Was Away on Business (1985) and her fame crystallized by way of his Underground (1995).” Among the topics of their discussion are “identity politics and the fallacy of ethnicity in the Balkans, passivity and denial, the global patriarchy, and the impossibility of un-seeing violence.”

In New York, Adam Sternbergh tells the story behind Matt and Ross Duffer’s Stranger Things, “which debuted last year and quickly became Exhibit A for the kind of hit that both harks back to an age of office watercoolers yet could happen only at this very modern moment—a moment characterized by unfettered social-media chatter and short-season TV shows you can binge-watch in one manic, unhinged weekend. The story of the Duffers is, like the plot of Stranger Things, an improbable yet engrossing and ultimately rousing tale, and there’s only one thing left to complete it, at least for now. An encore.” Season 2 debuts on October 27.

And for Deadline, Matt Grobar talks with cinematographer Tim Ives, who’s shot not only “the bulk of Stranger Things” but also a good number of episodes of Girls and House of Cards.

For the Guardian, Andy Welch talks with Studio Babelsberg location manager Markus Bensch one of the most widely used non-landmark locations of the past several years, the Messedamm underpass in Berlin.

Monday was Leslie Thornton Day at DC’s.


“Following the resignations of executive director Hadrian Belove and board member and Shadie Elnashai, Cinefamily has closed, temporarily suspending ‘all Cinefamily activities in order to allow for the investigation and necessary restructure of management and the board,’” reports IndieWire’s Dana Harris. “The Cinefamily board asked for the resignations last week after an anonymous email circulated claiming that Belove ‘has been accused of sexual harassment, assault, and abuse by former employees and volunteers’ and accused Elnashai of ‘raping multiple women, all verbally threatened and scared into silence after the assaults.’”


Teaser for Errol Morris’s Wormwood

The BFI and its London Film Festival have announced that Paul Greengrass (The Bourne Ultimatum, Captain Phillips) “will receive its highest accolade, the BFI Fellowship.”


Marc Webb ((500) Days Of Summer, The Amazing Spider-Man) “is attached to direct This Above All, a drama about the controversial Westboro Baptist Church,” reports the Playlist’s Kevin Jagernauth. “Nick Hornby (Brooklyn, Wild) will pen the screenplay, based on the memoir by former member Megan Phelps-Roper, the granddaughter of founder Fred Phelps, who became one of the most powerful voices on social media for Westboro, where she used both a picket sign and her Twitter handle to doggedly protest everything from cultural events to funerals, until her ongoing conversations with opponents over Twitter led her to question her belief system.”

Towards the end of Ian Parker’s profile of Ken Burns in this week’s New Yorker, the documentary filmmaker talks about his hopes for an opportunity to make a film about Barack Obama and his presidency. “I would love to sit down with him and do fifteen or twenty two-hour sessions. And make a film, in a couple of years, that would be in his own words. It would just be him. And then, in ten years, we’d add all the other things. So we could get at least fifteen years away from Obama’s Presidency and triangulate.”

Michel Blanc is currently shooting Voyez comme on danse with Karin Viard, Carole Bouquet, and Charlotte Rampling in Paris, reports Fabien Lemercier for Cineuropa.



“Mireille Darc, the celebrated French model-turned-actress who collaborated with Georges Lautner, Jean-Luc Godard, Édouard Molinaro, Alain Delon and Michel Audiard, has died,” reports Variety’s Esla Keslassy. “An icon of French cinema in the 1960s and 70s, Darc starred in more than 50 films, notably Lautner’s The Great Spy Chase and La Grande Sauterelle, Godard’s Weekend, Jacques Pinoteau’s Hard Boiled Ones, Denys de La Patellière’s The Upper Hand, and Yves Robert’s The Tall Blond Man With One Black Shoe, in which she appeared opposite Pierre Richard.” Darc was seventy-nine.

“Syd Silverman, longtime publisher and owner of Variety and Daily Variety, who shepherded the entertainment trade papers into the modern era, died August 27,” reports Deadline’s Anita Busch. Silverman was eighty-five. Tim Gray looks back on the life and career in Variety itself.

“Bernard Pomerance, a Brooklyn-born poet and playwright who won fame and the Tony Award for The Elephant Man, died August 26,” reports Jeremy Gerard for Deadline. Pomerance was seventy-six.


Peter Labuza and Jaime Christley look back on the legacy of Jerry Lewis in a special episode of The Cinephiliacs, The Total Film-Maker: Jerry Lewis (1926–2017) (70’51”).

For news and items of interest throughout the day, every day, follow @CriterionDaily.

from The Criterion Current

Dunkirk: la spettacolare anteprima italiana a Venezia

Il tanto atteso nuovo film di Christopher Nolan arriva nei cinema italiani il 31 agosto.

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Game of Thrones (Stagione 7) - Teste di Serie

Cade per la prima volta la neve a King's Landig, lo vediamo mentre Jaime consuma il suo “addio” alla leonessa tanto amata; cade anche la parte est di The Wall e si crea quel varco che porta dritto allo scontro finale dell'ottava stagione. Tra missioni suicide, alleanze repentine, enormi balestre, ricongiungimenti sofferti, amori in campo-controcampo, sete di giustizia e identità svelate ecco che risulta sacrificata la costruzione disforica tanto apprezzata nelle precedenti stagioni e va a rinvigorirsi una spettacolarità visiva di grande impatto che non vuole più spiazzare la fruizione.

È tempo di alleanze in Westeros visto che le due Regine stanno ormai per scontrarsi. Cersei trova l'appoggio del lupo di mare Euron Greyjoy e della sua enorme flotta, senza contare i lingotti d'oro, dei banchieri di Braavos, che serviranno a comprare schiere di mercenari. Poi c'è la bella Daenerys, the mother of Dragons. Quest'ultima ha “abbandonato” definitivamente Essos e nel suo angolo c'è gran parte del cast della serie, da Jon Snow a Tyrion, dagli Immacolati ai Dothraki, da Ser Jorah a Casa Tyrell, senza contare i suoi enormi figli squamati. Intanto Sansa da Winterfell deve gestire le continue macchinazioni di Ditocorto e la sorpresa determinante di riabbracciare Arya e Bran. Il vero detonatore narrativo tuttavia vive nel profondo nord: l'esercito dei Non Morti, comandato dagli Estranei, si avvicina sempre di più e diventa la reale minaccia che porterà la “mappa” di Game of Thrones allo scontro finale.

Questa settima stagione vive, geograficamente parlando, su un quintetto ben definito: Dragonstone, King's Landing, Winterfell, The Wall e Oldtown. La macchina da presa, guidata dallo storytelling dei due showrunner, deve condensare molte informazioni in poche sequenze e si concentra sul cast, da qui i continui campi-controcampi iper-dialogati che traducono praticamente le intenzioni dei personaggi. La coralità e la narrazione ingannevole tipiche di Game of Thrones vengono meno, aumenta invece un versante classico, edulcorato che trova grande linfa nel plot tra Daenerys e Jon Snow, un'unione strategica che diventerà passione e sorpresa finale. I due personaggi che palesano un entertainment sempre più affascinante sono Cersei Lannister e Arya Stark. La prima, vera madre dell'atmosfera dark che stilizza tutta la settima stagione, è la vera Regina superomista che sa attingere anche a momenti di residuale sensibilità; la seconda, parte con la vendetta del Red Wedding, e arriva a mettere sotto scacco Ditocorto, dimostrando di essere un personaggio-metafora dell'immaginario di Game of Thrones, un personaggio che stabilisce un concreto feeling con i fan della serie.

Ogni stagione ha la sua cifra stilistica all'interno di un orizzonte strutturato e marcato, da qui la rottura del classico climax nella prima stagione, la grande architettura a incastri ricca di sfumature motivazionali della terza stagione, la progressione armonica e ricca di trovate suggestive della sesta stagione. Qui i mondi possibili si sono esauriti, la complessità spaziale è venuta meno, il testo non riesce più ad allontanarsi dall'arco aristotelico tuttavia resta la pulsione seriale, restano le grandi battaglie e i paesaggi che tanto hanno reso grande questa serie.

(Game of Thrones); genere: fantasy; sceneggiatura: David Benioff D.B. Weiss, George R. R. Martin; stagioni: 7; episodi settima stagione:7; interpreti: Peter Dinklage, Lena Headey, Emilia Clarke, Kit Harington, Sophie Turner, Natalie Dormer, Maisie Williams, Nikolaj Coster-Waldau, Iain Glen, Alfie Allen, John Bradley, Conleth Hill, Aidan Gillen, Gwendoline Christie, Isaac Hempstead Wright, Jerome Flynn, Liam Cunningham, Rory McCann, Carice van Houten, Kristian Nairn, Iwan Rheon; produzione: Bighead, Littlehead. Management 360 Television, Grok! Television, Generator Entertainment, Startling Television, HBO; Network: HBO (U.S.A., 16 luglio-27 agosto 2017), Sky Atlantic (Italia, 24 luglio-4 settembre 2017); origine: U.S.A., 2017; durata: 58'-80' per episodio; episodio cult settima stagione: 6x07 - Beyond The Wall (6x07 - Oltre la Barriera).

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Uscite al cinema, 30 agosto-2 settembre 2017

Sono nove i film in uscita tra il 30 agosto e il 2 settembre, tra i quali: l'attesissimo ritorno di Christopher Nolan con il racconto dell'operazione di salvataggio sulle spiagge di Dunkerque, durante la seconda guerra mondiale; il racconto della difficile vita di due fratelli in un campo rom, diretto da Jonas Carpignano; l'appassionante storia della giovanissima kazaka Aisholpan, desiderosa di diventare un'addestratrice di aquile reali; il documentario di denuncia diretto da Ulrich Seidl sulle spregevoli battute di caccia di alcuni turisti durante un safari in Africa.

Regia: Jonas Carpignano; Genere Drammatico; Cast principale: Damiano Amato, Pio Amato, Koudous Seihon; Data di uscita: 31 agosto. Breve sinossi: In un campo rom nei pressi di Gioia Tauro vivono i fratelli Pio e Cosimo, sempre l'uno affianco all'altro, tra difficoltá d'integrazione in un tessuto sociale a loro estraneo, problematici rapporti tra coetanei e le dannose provocazioni che solo la vita di strada sa propinare. Per i due fratelli é sará dura pensare a un futuro roseo...

Regia: Christopher Nolan; Genere Guerra, drammatico; Cast principale: Tom Hardy, Cillian Murphy, Mark Rylance, Kenneth Branagh, James D'Arcy, Harry Styles, Aneurin Barnard, Jack Lowden, Barry Keoghan, Fionn Whitehead, Charley Palmer Rothwell, Elliott Tittensor, Brian Vernel, Kevin Guthrie; Data di uscita: 31 agosto. Breve sinossi: Nel mezzo del secondo conflitto mondiale, migliaia di soldati alleati rimasero bloccati sulle spiagge di Dunkerque, durante la Battagli di Francia. Minacciati dagli attacchi nemici, i soldati furono tratti in salvo da un manipolo di coraggiosi civili, in quella che viene ricordata come una delle operazioni di salvataggio piú eclatanti dell'intera Seconda Guerra Mondiale.

Regia: Andrea Magnani; Genere Commedia; Cast principale: Nicola Nocella, Libero De Rienzo, Barbara Bouchet, Lorenzo Acquaviva, Ostap Stupka, Veronika Shostak; Data di uscita: 31 agosto. Breve sinossi: Isidoro, detto “Easy”, è un trentenne depresso che vive ancora con la madre. Trascorre le blande giornate imbottendosi di psicofarmaci, tra passatempi frivoli e pensieri suicidi. Ma quando il fratello gli chiede di trasportare la salma di un uomo morto fino in Ucraina, la vita di Easy cambierá inaspettatamente, in maniera abbastanza radicale...

Regia: Otto Bell; Genere Documentario, avventura; Cast principale: Daisy Ridley, Lodovica Comello; Data di uscita: 31 agosto. Breve sinossi: Tra i monti Altai, in Kazakistan, la piccola Aisholpan desidera ripercorrere le orme dei suoi avi e diventare un'addestratrice di acquile, per poter partecipare al famoso Festival dell'acquila reale. L'addestramento per la giovane kazaka rappresenterá non solo un'occasione unica per conoscere a fondo le origini della sua stirpe, ma al contempo un modo per crescere a contatto con la sua piú grande ambizione.

Regia: Radu Mihaileanu; Genere Drammatico, sentimentale; Cast principale: Derek Jacobi, Gemma Arterton, Elliott Gould, John Hurt, Sophie Nélisse; Data di uscita: 31 agosto. Breve sinossi: Duante la Seconda Guerra Mondiale sboccia l'amore piú puro tra il giovane Léon e la graziosa Alma. I due, peró, verranno seprati dalla guerra, anche se il loro amore continuerá a pulsare sempre con la stessa vitalitá. Nel presente, a New York, un nuova coppia di predestinati viene ammaliata da quello stesso incantesimo d'amore che colpí Léon e Alma anni prima...

Regia: Edoardo Winspeare; Genere Commedia; Cast principale: Gustavo Caputo, Antonio Carluccio, Claudio Giangreco, Celeste Casciaro, Davide Riso, Alessandra de Luca; Data di uscita: 2 settembre. Breve sinossi: Filippo Pisanelli é il disilluso sindaco di Disperata. Afflitto da una forma di depressione esistenziale, Filippo trova la serenitá a cui anela solo nella poesia e nell'arte, che insegna ai detenuti del carcere cittadino. E proprio grazie alla poesia e all'arte, riuscirá a cambiare per sempre le vite di Pati e Angiolino, due fratelli carcerati, che aspiravano a divenire boss mafiosi...

Regia: Gerald Rascionato; Genere Thriller, drammatico; Cast principale: Joel Hogan, Josh Potthoff, Megan Peta Hill, Pete Valley, Mark Fell, Christopher Callen; Data di uscita: 30 agosto. Breve sinossi: Tre amici si recano in Australia per girare filmati di immersioni subacquee tra gli squali, per la realizzazione di un reality show estremo. Ma quando un'onda travolge la loro nave, lasciandoli alla deriva in mare aperto, per i tre giovani sará l'inizio di un vero e prorio incubo!

Regia: Ulrich Seidl; Genere Documentario; Data di uscita: 1 settembre. Breve sinossi: I protagonisti del documentario sono alcuni turisti tedeschi e austriaci che, recatisi nel cuore dell'Africa, intraprendono un safari per cacciare qualsiasi animale che solletichi il loro interesse. In un ambiente selvaggio e spesso ostile, chi sono veramente le bestie?

Regia: Stéphane Robelin; Genere Commedia; Cast principale: Pierre Richard, Yaniss Lespert, Fanny Valette, Gustave de Kervern, Stéphane Bissot, Macha Meril, Pierre Kiwitt, Anna Bederke; Data di uscita: 31 agosto. Breve sinossi: Pierre é un ottantenne rimasto solo dopo la scomparsa della moglie. Il figlio Alex, per distrarlo dal vuoto lasciato dall'amata, gli regala un computer. Cosí Pierre si imbatte in un sito per incontri, conosce per caso una giovane donna di cui se ne innammora, ma quando arriva il momento di incontrarsi dal vivo, l'uomo manderá il figlio al posto suo, complicando una situazione giá non cosí chiara...

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