A Song of the Open Road” – a Estrada Como Espaço De Liberdade Das Mulheres No Filme Thelma and Louise

Total Page:16

File Type:pdf, Size:1020Kb

A Song of the Open Road” – a Estrada Como Espaço De Liberdade Das Mulheres No Filme Thelma and Louise “A Song of the Open Road” – A estrada como espaço de liberdade das mulheres no filme Thelma and Louise . Diana Inês Rodrigues Cardoso de Sousa “A Song of the Open Road” – A estrada como espaço de liberdade das mulheres no filme Thelma and Louise . Faculdade de Letras da Universidade do Porto Dissertação de Mestrado em Estudos Anglo-Americanos Variante: Estudos sobre Mulheres 2010 1 “A Song of the Open Road” – A estrada como espaço de liberdade das mulheres no filme Thelma and Louise . Dissertação orientada pela Professora Doutora Ana Luísa Amaral. 2 “A Song of the Open Road” – A estrada como espaço de liberdade das mulheres no filme Thelma and Louise . Agradecimentos Gostaria de agradecer à Prof. Dr.ª Ana Luísa Amaral pelo apoio, disponibilidade e pelas observações críticas sempre rigorosas e valiosas. 3 “A Song of the Open Road” – A estrada como espaço de liberdade das mulheres no filme Thelma and Louise . Índice Introdução - “I’ve got Many Miles to Go” ........................................................5 Capítulo I – “Hit the Road and Go” I.1-Expectativas geradas pela produção, distribuição e recepção do filme………14 I.2 -Contextualização histórica e político-social da década de 90, do século XX ..23 Capítulo II - “The Long Promised Road” II.1 – Estrada e “Road Movie” …………………………………………………..26 II.2 – Contributos da Teoria Feminista Cinematográfica………………………...46 Capítulo III – “Further up on the Road” III.1 – “Let Me Ride”: Domesticidade e Mobilidade ……………………………62 III.2 – “Wanted Dead or Alive”/”Renegade”: Lei e Violência .............................78 III.3 – “Why Don’t We Do It On The Road?”/ “Driving Sideways”: Sexualidade Construções de Masculinidade e Feminilidade.………………………………...102 Conclusão – “End of the Road” .........................................................................122 Bibliografias e filmografias .................................................................................127 Anexos .......................................................................................................................148 4 “A Song of the Open Road” – A estrada como espaço de liberdade das mulheres no filme Thelma and Louise . Introdução “I’ve Got Many Miles to Go” Estrada – pedaço de chão delimitado por duas linhas mais ou menos paralelas, rectilíneas, curvas, ziguezagueantes, finitas ou infinitas, que nos levam ao fim de tudo ou ao princípio do nada; à libertação total ou à opressão dos que dela depende a sua subsistência; ao nosso encontro ou reencontro ou talvez afastamento. Ao percorrê-la, podemos reflectir, fazer o balanço da nossa vida, dos nossos erros, das nossas frustrações, do nosso desânimo, do nosso pesadelo de vida. No sentido inverso, podemos tirar partido das suas paisagens verdejantes, áridas, agrestes, rochosas, mas onde pode vislumbrar-se de quando em vez o arco-íris cheio de beleza e cor. E aí surge- nos a cor de laranja, quente, cheia de força e energia; o amarelo, cor da alegria e do calor do sol; o verde, cor da esperança, da vida; o azul, cor do céu e do sonho; o anil, aquele azul estranho, sinal de indecisão, ou do talvez; e por fim, o violeta que nos traz paz e também a promessa de amor. Na estrada não há tecto, não há limites, podemos ver o sol, a lua, as estrelas, ver e ouvir os pássaros a cantar, e os grilos em noites de calor; sentir a neve, o calor, a chuva, e usufruir de tudo o que de mais belo a natureza nos oferece sem nada pedir em troca. Podemos sentir a liberdade, felizes de cabelos esvoaçando ao vento, ouvindo aquela canção, que nos diz muito, e nos transporta para outra fase da vida ou qualquer momento de sonho ou êxtase. Na contra mão, podemos sentir o inverso, toda a nostalgia da vida que vivemos, mas que não pudemos ou quisemos completar; a revolta completa, por todos os direitos que não tivemos, por tudo o que não sentimos, por tudo o que não vivemos, dentro de uma sociedade castrante e opressora. A estrada pode ser portanto, um mundo cheio de emoções novas, um passaporte para o sonho ou um bilhete sem volta para o abismo, para o fim. Ela é sem duvida um dos locais mais apropriados para que, através da imaginação, da realidade ou da ficção, outros, ou nós próprios, possam fazer dela, um veículo de imagens, emoções, fantasia, realidade, enfim tudo aquilo a que o cinema nos deve transportar. As duas protagonistas do filme Thelma and Louise , originárias do Sul dos EUA (Arkansas), estão cansadas das suas vidas aborrecidas e oprimidas. Nos créditos iniciais do filme temos um caminho, uma estrada aberta, pronta a ser percorrida, com uma linha 5 “A Song of the Open Road” – A estrada como espaço de liberdade das mulheres no filme Thelma and Louise . de horizonte bastante demarcada. As duas amigas, numa tentativa de fugir da sua vida enfadonha, decidem então lançar-se para esta estrada aberta, para passar um fim-de- semana nas montanhas. Louise é prática e confiante, embora marcada por um passado do qual não se consegue libertar; Thelma é ingénua e dominada pelo marido, Daryl, que representa o comportamento tradicional americano opressivo e insensível. Uma vez que as personagens vivem numa América que corrompeu o seu sonho, recorrem à estrada como um escape e possibilidade de realização pessoal e de liberdade. No cinema, a estrada assume o “papel principal”, de tal forma que até deu origem a um novo género cinematográfico, o “Road Movie”, muito influenciado pelo “Western”. Através de inúmeros “Road Movies”, a estrada tornou-se um símbolo da cultura americana e uma das imagens mais populares da América para o mundo. Easy Rider de Dennis Hopper (1969) é frequentemente apontado como o grande marco do “American Road Movie”, contudo, há outros filmes incontornáveis que atravessam inclusivé outros géneros de Hollywood, são exemplos: Bonnie & Clyde (1967, Arthur Penn) e Butch Cassidy and the Sundance Kid (1969, George Roy Hill). Thelma and Louise fizeram reviver o interesse pelo “Road Movie”, simplesmente por atribuir a mulheres papéis, que eram vistos exclusivamente como masculinos, assim desafiando convenções de género. Há um fascínio contínuo na ficção Norte-Americana pela vida na estrada. Este foi sempre um tema persistente na génese da cultura norte-americana e no seu imaginário e o seu significado está repleto de história social e popular. A estrada remonta à ideia de fronteira da nação, ideia essa transformada pela intersecção tecnológica dos filmes e do automóvel no século XX. Na década de 70 do século XX, o geógrafo cultural John Brinckerhoff Jackson, deu o nome “Odology” ao campo dos estudos sobre a estrada. È derivado da palavra grega “odos “ou “hodos”, que significa estrada. Jackson cunhou o termo em Discovering the Vernacular Landscape. Jackson centrou o seu estudo na paisagem americana constituída por parques de estacionamento, “trailer camps” e auto- estradas, atribuindo-lhes um significado especial e analisando sempre as forças políticas e culturais que lhes davam forma. A estrada era para Jackson uma força vital nas relações humanas e a sua abordagem era marcadamente interdisciplinar e sociológica. Odology is the science or study of roads or journeys and, by extension, the study of streets and superhighways and trails and paths, how they are used, where they lead, and how they come into existence. Odology is part geography, part 6 “A Song of the Open Road” – A estrada como espaço de liberdade das mulheres no filme Thelma and Louise . planning, and part engineering as well. That is why the discipline has a brilliant future (Jackson apud. Groth & Wilson 2003: 73). Jackson ilustrou este conceito em ensaios, que consideravam a estrada como um emblema da vida humana e a sua evolução como um caminho, que permitia a eficiência, no que diz respeito a diversos objectivos sociais. Estudando as implicações sociopolíticas da estrada, comparando as estradas francesas e romanas imperiais centralizadas, em contraste com as estradas americanas democráticas e públicas do século XIX, Jackson concluiu: “the best of all landscapes, the best of all roads, are those which foster movement toward a desirable social goal” (Jackson, apud. Groth & Wilson 2003: 73). É precisamente este aspecto positivo que pretendo evidenciar na minha dissertação: a liberdade como objectivo desejável para as duas protagonistas do filme Thelma and Louise é a liberdade. Recorde-se que na cultura norte-americana a busca pela liberdade assume uma particular relevância, lembrando a expressão contida na Declaração de Independência dos EUA, primeiramente escrita por Thomas Jefferson. Nela podemos ler:”all Men (…) are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness”. A tradução deste objectivo para o outro lado do Atlântico pode ser encontrado na Revolução Francesa sob a divisa “liberté, égalité, fraternité”. Esta liberdade incluía direitos sociais, condições económicas, igualdade e solidariedade. No curso da história, os EUA sempre “investiram” na ideia de demanda, abandonando tudo o que é familiar, e acreditando na promessa do desconhecido. O caso de Thelma e Louise mostra que alguns ainda têm de partir para a estrada aberta, para assim conseguirem usufruir da liberdade plena. Nas palavras de James Baldwin "freedom is not something that anybody can be given. Freedom is something people take, and people are as free as they want to be." É precisamente isto que Thelma e Louise fazem, quando se lançam à estrada: tentam ser livres. A mitologia da mobilidade norte-americana e de liberdade deu origem a estruturas ideológicas e discursivas que assentam numa série de textos que consolidam uma retórica de expansão, ligada ao sonho americano de mobilidade social. Quando falamos de precursores da narrativa de estrada, o primeiro nome que surge é o de Jack Kerouac, com o seu romance On the Road, publicado em 1957, mas na verdade, a ideia da estrada está já presente desde o início da tradição literária americana com Henry David Thoreau (“The Old Marlborough Road”), Walt Whitman (“A Song of the Open Road”), Robert Frost (“The Road Not Taken”) ou continuado na ficção mais recente, por exemplo com 7 “A Song of the Open Road” – A estrada como espaço de liberdade das mulheres no filme Thelma and Louise .
Recommended publications
  • First-Run Smoking Presentations in U.S. Movies 1999-2006
    First-Run Smoking Presentations in U.S. Movies 1999-2006 Jonathan R. Polansky Stanton Glantz, PhD CENTER FOR TOBAccO CONTROL RESEARCH AND EDUCATION UNIVERSITY OF CALIFORNIA, SAN FRANCISCO SAN FRANCISCO, CA 94143 April 2007 EXECUTIVE SUMMARY Smoking among American adults fell by half between 1950 and 2002, yet smoking on U.S. movie screens reached historic heights in 2002, topping levels observed a half century earlier.1 Tobacco’s comeback in movies has serious public health implications, because smoking on screen stimulates adolescents to start smoking,2,3 accounting for an estimated 52% of adolescent smoking initiation. Equally important, researchers have observed a dose-response relationship between teens’ exposure to on-screen smoking and smoking initiation: the greater teens’ exposure to smoking in movies, the more likely they are to start smoking. Conversely, if their exposure to smoking in movies were reduced, proportionately fewer teens would likely start smoking. To track smoking trends at the movies, previous analyses have studied the U.S. motion picture industry’s top-grossing films with the heaviest advertising support, deepest audience penetration, and highest box office earnings.4,5 This report is unique in examining the U.S. movie industry’s total output, and also in identifying smoking movies, tobacco incidents, and tobacco impressions with the companies that produced and/or distributed the films — and with their parent corporations, which claim responsibility for tobacco content choices. Examining Hollywood’s product line-up, before and after the public voted at the box office, sheds light on individual studios’ content decisions and industry-wide production patterns amenable to policy reform.
    [Show full text]
  • The Proliferation of the Grotesque in Four Novels of Nelson Algren
    THE PROLIFERATION OF THE GROTESQUE IN FOUR NOVELS OF NELSON ALGREN by Barry Hamilton Maxwell B.A., University of Toronto, 1976 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department ot English ~- I - Barry Hamilton Maxwell 1986 SIMON FRASER UNIVERSITY August 1986 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. APPROVAL NAME : Barry Hamilton Maxwell DEGREE: M.A. English TITLE OF THESIS: The Pro1 iferation of the Grotesque in Four Novels of Nel son A1 gren Examining Committee: Chai rman: Dr. Chin Banerjee Dr. Jerry Zaslove Senior Supervisor - Dr. Evan Alderson External Examiner Associate Professor, Centre for the Arts Date Approved: August 6, 1986 I l~cr'ct~ygr.<~nl lu Sinnri TI-~J.;~;University tile right to lend my t Ire., i6,, pr oJcc t .or ~~ti!r\Jc~tlcr,!;;ry (Ilw tit lc! of which is shown below) to uwr '. 01 thc Simon Frasor Univer-tiity Libr-ary, and to make partial or singlc copic:; orrly for such users or. in rcsponse to a reqclest from the , l i brtlry of rllly other i111i vitl.5 i ty, Or c:! her- educational i r\.;t i tu't ion, on its own t~l1.31f or for- ono of i.ts uwr s. I furthor agroe that permissior~ for niir l tipl c copy i rig of ,111i r; wl~r'k for .;c:tr~l;rr.l y purpose; may be grdnted hy ri,cs oi tiI of i Ittuli I t ir; ~lntlc:r-(;io~dtt\at' copy in<) 01.
    [Show full text]
  • 89Th Annual Academy Awards® Oscar® Nominations Fact
    ® 89TH ANNUAL ACADEMY AWARDS ® OSCAR NOMINATIONS FACT SHEET Best Motion Picture of the Year: Arrival (Paramount) - Shawn Levy, Dan Levine, Aaron Ryder and David Linde, producers - This is the first nomination for all four. Fences (Paramount) - Scott Rudin, Denzel Washington and Todd Black, producers - This is the eighth nomination for Scott Rudin, who won for No Country for Old Men (2007). His other Best Picture nominations were for The Hours (2002), The Social Network (2010), True Grit (2010), Extremely Loud & Incredibly Close (2011), Captain Phillips (2013) and The Grand Budapest Hotel (2014). This is the first nomination in this category for both Denzel Washington and Todd Black. Hacksaw Ridge (Summit Entertainment) - Bill Mechanic and David Permut, producers - This is the first nomination for both. Hell or High Water (CBS Films and Lionsgate) - Carla Hacken and Julie Yorn, producers - This is the first nomination for both. Hidden Figures (20th Century Fox) - Donna Gigliotti, Peter Chernin, Jenno Topping, Pharrell Williams and Theodore Melfi, producers - This is the fourth nomination in this category for Donna Gigliotti, who won for Shakespeare in Love (1998). Her other Best Picture nominations were for The Reader (2008) and Silver Linings Playbook (2012). This is the first nomination in this category for Peter Chernin, Jenno Topping, Pharrell Williams and Theodore Melfi. La La Land (Summit Entertainment) - Fred Berger, Jordan Horowitz and Marc Platt, producers - This is the first nomination for both Fred Berger and Jordan Horowitz. This is the second nomination in this category for Marc Platt. He was nominated last year for Bridge of Spies. Lion (The Weinstein Company) - Emile Sherman, Iain Canning and Angie Fielder, producers - This is the second nomination in this category for both Emile Sherman and Iain Canning, who won for The King's Speech (2010).
    [Show full text]
  • The BG News February 16, 1990
    Bowling Green State University ScholarWorks@BGSU BG News (Student Newspaper) University Publications 2-16-1990 The BG News February 16, 1990 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/bg-news Recommended Citation Bowling Green State University, "The BG News February 16, 1990" (1990). BG News (Student Newspaper). 5043. https://scholarworks.bgsu.edu/bg-news/5043 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the University Publications at ScholarWorks@BGSU. It has been accepted for inclusion in BG News (Student Newspaper) by an authorized administrator of ScholarWorks@BGSU. FEATURED PHOTOS ICERS HOST FLAMES BG News photographers BG looks to clinch Q show off their best Friday Mag third-place CCHA finish Sports p.9 The Nation *s Best College Newspaper Weather Friday Vol.72 Issue 84 February 16,1990 Bowling Green, Ohio High48c The BG News Low 30° BRIEFLY Hall arson Plant's layoffs delayed arrest made Automotive sales slump, but Chrysler pushes back plan CAMPUS TOLEDO (AP) - Indefinite uled to shut down for a week. by Michelle Matheson layoffs of 724 workers at Chrysler "I know a lot of The two plants, which manufac- staff writer ture Cherokees and Grand Wa- Map grant received: The Corp.'s Jeep plants have been people think the goneers, employ 5,300 people. pushed back two weeks, and some Chrysler has said the layoffs are University's map-making class will A resident of Founders Quadrangle was ar- workers said Thursday they hope plant is eventually soon be charting a new course thanks the layoffs can be avoided all due to slumping automotive sales.
    [Show full text]
  • Femininity and Gender in Lars Von Trier's Depression Trilogy
    FEMININITY AND GENDER IN LARS VON TRIER’S DEPRESSION TRILOGY by Carles Pérez Gutiérrez B.A. (Universitat de Barcelona) 2018 THESIS/CAPSTONE Submitted in partial satisfaction of the requirements For the degree of MASTER OF ARTS in HUMANITIES in the GRADUATE SCHOOL of HOOD COLLEGE April 2020 Accepted: _______________________ _______________________ Robert Casas, Ph.D. Corey Campion, Ph.D. Committee Member Program Advisor _______________________ Didier Course, Ph.D. Committee Member _______________________ April M. Boulton, Ph.D. Dean of the Graduate School _______________________ Aaron Angello, Ph.D. Capstone Advisor STATEMENT OF USE AND COPYRIGHT WAIVER I do authorize Hood College to lend this Thesis (Capstone), or reproductions of it, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. ii CONTENTS STATEMENT OF USE AND COPYRIGHT WAIVER ...………………………….. ii ABSTRACT ………………………………………………………………………… iv ACKNOWLEDGEMENTS …………………………………………………………. v CHAPTER 1: INTRODUCTION ………………………….………………………... 2 CHAPTER 2: ANTICHRIST ………………………………………………...……… 9 CHAPTER 3: MELANCHOLIA …………………………………….…………….. 36 CHAPTER 4: NYMPHOMANIAC ……………………………………..…………. 57 CHAPTER 5: CONCLUSION ………………………………………...…………… 82 BIBLIOGRAPHY AND FILMOGRAPHY ……………………………………….. 86 iii ABSTRACT Both praised and criticized, Lars von Trier’s Depression Trilogy—a film trilogy that includes Antichrist (2009), Melancholia (2011), and Nymphomaniac (2013)— provides an exploration of femininity and gender roles. This study explores how von
    [Show full text]
  • Creative COW News & Press Releases News: NEWS: Visual
    Creative COW News & Press Releases News: NEWS: Visual Effects Society Names Acclaimed Filmmaker­Producer Sir Ridley Scott Recipient of VES Lifetime Achievement Award News: NEWS: Visual Effects Society Names Acclaimed Filmmaker­Producer Sir Ridley Scott Recipient of VES Lifetime Achievement Award Last Updated: October 10, 2015 5:10 pm GMT (Los Angeles, California­­October 27, 2015) Today, the Visual Effects Society (VES), the industry’s professional global honorary society, named multiple award­winning director­producer Sir Ridley Scott as the recipient of the VES Lifetime Achievement Award in recognition of his enormous contributions to filmed entertainment. The award will be presented at the 14th Annual VES Awards on February 2, 2016 at the Beverly Hilton Hotel. The VES Lifetime Achievement Award, bestowed by the VES Board of Directors, recognizes an outstanding body of work that has significantly contributed to the art and/or science of the visual effects industry. VES will honor Scott for his vision and dedication to storytelling that blends iconic visual effects and unforgettable narrative on an epic scale. Scott’s fiercely innovative direction of groundbreaking films including science fiction classics Blade Runner and Alien and the sweeping chronicle Gladiator, has given rise to a new era of storytelling and had a profound impact on future generations of filmmakers. "Ridley Scott is a defining voice of the feature, broadcast and commercial forms, and a true master of his craft,” said Mike Chambers, VES Board Chair. “His vision and contribution to the art is incomparable and his impact upon the visual effects and technical fields is unparalleled. Ridley's iconic films have entertained and inspired millions, and his oeuvre of groundbreaking work has been immensely influential.
    [Show full text]
  • I've Seen Films
    I’ve Seen Films International Short Film Festival I’VE SEEN FILMS 2008 International Short Film Festival International Jury 7 I’VE SEEN FILMS 2008 International Short Film Festival INTERNATIONAL JURY Bill Bristow (UK) producer, director and writer ‘’Who Are They?’’, ‘’Prosit Ermanno!’’ (documentary); ‘’The Swan’’ (theater production); ‘’Fleas’’(theater direction); ‘’A Game of Moles’’ (writer); ‘’The Whaler’’ (screenwriter); ‘’Granny’s Wish’’ (theater production). Ludovico Einaudi (ITA) classical music composer and pianist ‘’Eden Roc’’, ‘’Time Out’’, ‘’Le Onde’’, ‘’Una Mattina’’, ‘’La Scala Concert’’, ‘’Diario Mali’’, ‘’Divenire’’ (composer); ‘’Da qualche parte in città’’, ‘’Acquario’’, ‘’Giorni Dispari’’, ‘’Aprile’’, ‘’Un delitto impossibile’’, ‘’Fuori del mondo’’, ‘’Zhivago’’, ‘’Sotto falso nome’’ (soundtracks). Richard Gere (USA) actor, producer, composer and performer ‘’American Gigolo’’, ‘’Breathless’’, ‘’The Honorary Consul’’, ‘’Sommersby’’, ‘’Autumn in New York’’, ‘’The Mothman Prophecies’’, ‘’Shall We Dance?’’, ‘’The Hoax’’, ‘’I’m Not There’’ (actor); ‘’Hachiko: A Dog’s Story’’ (actor and producer); ‘’Unfaithful’’, ‘’Chicago’’, ‘’Pretty Woman’’, ‘’The Cotton Club’’ (actor, composer and performer). Rutger Hauer (NL) actor, director and writer ‘’Turkish Delight’’, ‘’Soldier of Orange’’, ‘’Nighthawks’’, ‘’Blade Runner’’, ‘’Ladyhawke’’, ‘’The Hitcher’’, ‘’The Legend of the Holy Drinker’’, ‘’Confessions of a Dangerous Mind’’, “Escape from Sobibor”; ‘’Batman Begins’’, ‘’Sin City’’ (actor); ‘’The Room’’, ‘’Starfi sh Tango’’ (director);
    [Show full text]
  • No. 03 Mormon Pacific Historical Society
    karlonkaplon PACIFIC historical SOCIENSOCIEIY PROCEEDNSproceedings THIRD ANNUAL conference MPHMPHS 10 APRILk I1 L 1982 preslPRESIpresidentspresidentisDENTIS MESSAGE with this publication of the proceedings of the third MPHS conference and the anticipation of the fourth conference for 30 april 1983 it appears that our mormon pacific historical society is now definitely off the ground we are genuinely grateful to those loyal supporters who have stuck with us since the beginning and also those who have learned what it is we are about and have since joined forces with us ours is a great cause we hope to increase not only knowledge about the mormon church in the pacific nations but also pride in being associated with an activity about which there is still a great amount of ignoranceignoranceignorance ignorance which we through our MPHS may help dispel our theme for the 1982 conference make friends with the past suggests another reason for the study of historythathistory that it is just plain good fun to learn something so vital and interest ingng that can provide us with such great satisfaction if MPHS has helped in doing that we are most pleased many thanks to lance chase for chairing the conference and for compiling these proceedings his secretary yvonne lowe has also been a great help to us this past year at our business meeting this year we will be electing three new members to our executive council the council in turn will select the new officers for the coming year hopefully next year you will find a new name at the conclusion of the
    [Show full text]
  • Walpole Public Library DVD List A
    Walpole Public Library DVD List [Items purchased to present*] Last updated: 9/17/2021 INDEX Note: List does not reflect items lost or removed from collection A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Nonfiction A A A place in the sun AAL Aaltra AAR Aardvark The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.1 vol.1 The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.2 vol.2 The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.3 vol.3 The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.4 vol.4 ABE Aberdeen ABO About a boy ABO About Elly ABO About Schmidt ABO About time ABO Above the rim ABR Abraham Lincoln vampire hunter ABS Absolutely anything ABS Absolutely fabulous : the movie ACC Acceptable risk ACC Accepted ACC Accountant, The ACC SER. Accused : series 1 & 2 1 & 2 ACE Ace in the hole ACE Ace Ventura pet detective ACR Across the universe ACT Act of valor ACT Acts of vengeance ADA Adam's apples ADA Adams chronicles, The ADA Adam ADA Adam’s Rib ADA Adaptation ADA Ad Astra ADJ Adjustment Bureau, The *does not reflect missing materials or those being mended Walpole Public Library DVD List [Items purchased to present*] ADM Admission ADO Adopt a highway ADR Adrift ADU Adult world ADV Adventure of Sherlock Holmes’ smarter brother, The ADV The adventures of Baron Munchausen ADV Adverse AEO Aeon Flux AFF SEAS.1 Affair, The : season 1 AFF SEAS.2 Affair, The : season 2 AFF SEAS.3 Affair, The : season 3 AFF SEAS.4 Affair, The : season 4 AFF SEAS.5 Affair,
    [Show full text]
  • List of Films Shown by NWFS
    List of films shown by NWFS 2015 Feb The little death MA Australia English 2014 95 mins http://www.imdb.com/title/tt2785032/?ref_=fn_al_tt_1 Mar Two days, one night M Belgium French 2014 91 mins http://www.imdb.com/title/tt2737050/?ref_=nv_sr_1 Apr Finding Vivian Maier PG USA English 2014 84 mins http://www.imdb.com/title/tt2714900/?ref_=fn_al_tt_1 Apr The dark horse M New Zealand English 2014 124 mins http://www.imdb.com/title/tt2192016/?ref_=nv_sr_1 May Leviathan M USSR Russian 2015 141 mins http://www.imdb.com/title/tt2802154/?ref_=nv_sr_1 Jun Love is strange M USA English 2015 94 mins http://www.imdb.com/title/tt2639344/?ref_=nv_sr_1 Jul Trash M Brazil Portuguese 2014 114 mins http://www.imdb.com/media/rm3038037760/tt1921149?ref_=tt_ov_i/ Jul The mafia only kills in summer M Italy / USA Italian/English 2013 90 mins http://www.imdb.com/title/tt3374966/?ref_=fn_al_tt_1/ Aug Partisan CTC Australia English 2015 98 mins http://www.imdb.com/title/tt3155242/?ref_=nv_sr_1/ Sep Kumiko, the treasure hunter PG Japan / USA Japanese / English 2014 105 mins http://www.imdb.com/title/tt3263614/?ref_=nv_sr_1/ Oct Living is easy with eyes closed M Spain Spanish 2013 108 mins http://www.imdb.com/title/tt2896036/?ref_=nv_sr_2/ Nov Madame Bovary M USA English 2014 118 mins http://www.imdb.com/title/tt2334733/?ref_=rvi_tt/ Dec Waking the camino - six ways to Santiago PG USA English 2014 84 mins http://www.imdb.com/title/tt2406422/?ref_=fn_al_tt_1 2014 Feb 20 Feet From Stardom M US - English 2013 90 mins Mar Fill The Void PG Israel - Hebrew 2013 90 mins
    [Show full text]
  • ALIENCOVENANT PB Ita 2
    ! Regia di Ridley Scott Michael Fassbender Katherine Waterston Billy Crudup Danny McBride Demian Bichir *** Uscita: 11 Maggio 2017 Distribuzione: 20th Century Fox Italia Durata: 121 minuti *** Ufficio stampa 20th Century Fox Giancarlo Sozi : <[email protected]> Cristina Partenza: < [email protected]> Ufficio stampa web Alessandra Giovannetti <[email protected]> *** #AlienCovenant https://www.facebook.com/AlienFilmIt/ http://www.aliencovenant-trovasala.it/ www.20thfox.it Nello spazio nessuno può sentirti urlare. Dopo quasi quattro decadi, queste parole rimangono sinonimo dell'assoluta e incessante tensione di quel capolavoro dell’orrore fantascientifico che è stato Alien di Ridley Scott. Ora, il padre del leggendario franchise, ritorna ancora una volta al mondo che ha creato per esplorarne i suoi recessi più oscuri con ALIEN: COVENANT, una nuova avventura al cardiopalma che spinge in avanti i confini del terrore per i film vietati ai minori. A bordo dell’astronave Covenant tutto è tranquillo; l’equipaggio e le altre 2.000 anime sul vascello d’esplorazione sono profondamente addormentate nell’iper-sonno, lasciando che Walter, l’organismo sintetico a bordo, cammini da solo per i corridoi. La nave è in viaggio verso il lontano pianeta Origae-6, sul fianco estremo della galassia, dove i coloni sperano di stabilire un nuovo avamposto per l’umanità. La pacifica tranquillità del viaggio viene interrotta quando una vicina esplosione stellare distrugge le vele di raccolta di energia della Covenant, provocando decine di vittime e facendo deragliare la missione. Ben presto i membri superstiti dell’equipaggio scoprono quello che sembra essere un paradiso inesplorato, un Eden indisturbato con montagne coperte di nuvole e immensi alberi altissimi, molto più vicino di Origae-6 e potenzialmente altrettanto valido per ospitarli.
    [Show full text]
  • Alien: Covenant
    ALIEN: COVENANT In space, no one can hear you scream. After nearly four decades, those words remain synonymous with the sheer, relentless intensity of Ridley Scott’s masterpiece of futuristic horror, Alien. Now, the father of the iconic franchise returns once more to the world he created to explore its darkest corners with ALIEN: COVENANT, a pulse-pounding new adventure that pushes the boundaries of R-rated terror. All is quiet aboard the spaceship Covenant. The crew and the rest of the 2,000 souls aboard the pioneering vessel are deep in hyper-sleep, leaving the synthetic Walter to walk the corridors alone. The ship is en route to the remote planet Origae-6, where, on the far side of the galaxy, the settlers hope to establish a new outpost for humanity. The tranquility is shattered when a nearby stellar ignition shreds Covenant’s energy-collection sails, resulting in dozens of casualties and throwing the mission off course. Soon, the surviving crew members discover what appears to be an uncharted paradise, an undisturbed Eden of cloud-capped mountains and immense, soaring trees far closer than Origae- 6 and potentially just as viable as a home. What they’ve found, however, is actually a dark and deadly world full of unexpected twists and turns. Facing a terrible threat beyond their imagination, the embattled explorers must attempt a harrowing escape. Set ten years after the events depicted in Scott’s 2012 hit Prometheus, ALIEN: COVENANT returns to the roots of the director’s groundbreaking saga with a uniquely terrifying tale filled with white-knuckle adventure and monstrous new creatures.
    [Show full text]