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Habemus Papam
Fandango Portobello presents a Sacher Films, Fandango and le Pacte production in collaboration with Rai and France 3 Cinema HABEMUS PAPAM a film by Nanni Moretti Running Time: 104 minutes International Fandango Portobello sales: London office +44 20 7605 1396 [email protected] !"!1!"! ! SHORT SYNOPSIS The newly elected Pope suffers a panic attack just as he is due to appear on St Peter’s balcony to greet the faithful, who have been patiently awaiting the conclave’s decision. His advisors, unable to convince him he is the right man for the job, seek help from a renowned psychoanalyst (and atheist). But his fear of the responsibility suddenly thrust upon him is one that he must face on his own. ! ! ! ! ! ! ! ! ! ! ! ! !"!2!"! CAST THE POPE MICHEL PICCOLI SPOKESPERSON JERZY STUHR CARDINAL GREGORI RENATO SCARPA CARDINAL BOLLATI FRANCO GRAZIOSI CARDINAL PESCARDONA CAMILLO MILLI CARDINAL CEVASCO ROBERTO NOBILE CARDINAL BRUMMER ULRICH VON DOBSCHÜTZ SWISS GUARD GIANLUCA GOBBI MALE PSYCHOTHERAPIST NANNI MORETTI FEMALE PSYCHOTHERAPIST MARGHERITA BUY CHILDREN CAMILLA RIDOLFI LEONARDO DELLA BIANCA THEATER COMPANY DARIO CANTARELLI MANUELA MANDRACCHIA ROSSANA MORTARA TECO CELIO ROBERTO DE FRANCESCO CHIARA CAUSA MASTER OF CEREMONIES MARIO SANTELLA CHIEF OF POLICE TONY LAUDADIO JOURNALIST ENRICO IANNIELLO A MOTHER CECILIA DAZZI SHOP ASSISTANT LUCIA MASCINO TV JOURNALIST MAURIZIO MANNONI HALL PORTER GIOVANNI LUDENO GIRL AT THE BAR GIULIA GIORDANO BARTENDER FRANCESCO BRANDI BOY AT THE BUS LEONARDO MADDALENA PRIEST SALVATORE MISCIO DOCTOR SALVATORE -
Cineforumfest – 2015 2016
CineforumFEST – 2015 2016 mar 3/11 La famiglia Belier di Eric Lartigau con Evgueni Galperine, Sacha Galperine Brillante commedia francese supportata da una sceneggiatura solida, che mescola con perfetta misura umorismo, lacrime, disfunzioni, pregiudizi e canzoni mar 10/11 Youth - La giovinezza di Paolo Sorrentino con Michael Caine, Harvey Keitel, Rachel Weisz, Paul Dano, Jane Fonda Festival di Cannes 2015 - Due grandi attori per una riflessione giocosa sull’arte, la creazione, la bellezza (più seccature annesse, tipo la celebrità e i suoi obblighi) mar 17/11 Mia Madre di Nanni Moretti con Margherita Buy, John Turturro, Giulia Lazzarini, Nanni Moretti Un film profondo e sincero, un film sul cinema e sul rapporto tra realtà e finzione, un film che s'appresta ad essere un manifesto del nostro tempo complesso e problematico mar 24/11 Vizio di forma di Paul Thomas Anderson con Joaquin Phoenix, Josh Brolin, Benicio Del Toro Sotto le vesti lacere del noir si nasconde una complessa e stratificata riflessione sul trauma della fine di un'epoca mar 1/12 Roger Waters – The wall di Roger Waters, Sean Evans Un nuovo capitolo più che valido nella straordinaria storia cinematografica dei Pink Floyd mer 9/12 Forza maggiore di Ruben Östlund con Johannes Kuhnke, Lisa Loven Kongsli, Clara Wettergren Una conferma del talento dello svedese, entomologo dell'assurdo mar 15/12 Taxi Teheran di Jafar Panahi con Jafar Panahi, Hana Saeidi Un taxi attraversa le strade di Teheran in un giorno qualsiasi. Passeggeri di diversa estrazione sociale salgono e scendono dalla vettura. Alla guida non c'è un conducente qualsiasi ma Jafar Panahi stesso impegnato a girare un altro film 'proibito'. -
Network Review #37 Cannes 2021
Network Review #37 Cannes 2021 Statistical Yearbook 2020 Cinema Reopening in Europe Europa Cinemas Network Review President: Nico Simon. General Director: Claude-Eric Poiroux Head of International Relations—Network Review. Editor: Fatima Djoumer [email protected]. Press: Charles McDonald [email protected]. Deputy Editors: Nicolas Edmery, Sonia Ragone. Contributors to this Issue: Pavel Sladky, Melanie Goodfellow, Birgit Heidsiek, Ste- fano Radice, Gunnar Rehlin, Anna Tatarska, Elisabet Cabeza, Kaleem Aftab, Jesus Silva Vilas. English Proofreader: Tara Judah. Translation: Cinescript. Graphic Design: Change is good, Paris. Print: Intelligence Publishing. Cover: Bergman Island by Mia Hansen-Løve © DR CG Cinéma-Les Films du Losange. Founded in 1992, Europa Cinemas is the first international film theatre network for the circulation of European films. Europa Cinemas 54 rue Beaubourg 75003 Paris, France T + 33 1 42 71 53 70 [email protected] The French version of the Network Review is available online at https://www.europa-cinemas.org/publications 2 Contents 4 Editorial by Claude-Eric Poiroux 6 Interview with Lucia Recalde 8 2020: Films, Facts & Figures 10 Top 50 30 European movies by admissions Czech Republic in the Europa Cinemas Network Czech exhibitors try to keep positive attitude while cinemas reopen 12 Country Focus 2020 32 France 30 French Resistance Cinema Reopening in Europe 34 46 Germany The 27 Times Cinema initiative Cinema is going to have a triumphant return and the LUX Audience Award 36 Italy Reopening -
Pdf-Collections-.Pdf
1 Directors p.3 Thematic Collections p.21 Charles Chaplin • Abbas Kiarostami p.4/5 Highlights from Lobster Films p.22 François Truffaut • David Lynch p.6/7 The RKO Collection p.23 Robert Bresson • Krzysztof Kieslowski p.8/9 The Kennedy Films of Robert Drew p.24 D.W. Griffith • Sergei Eisenstein p.10/11 Yiddish Collection p.25 Olivier Assayas • Alain Resnais p.12/13 Themes p.26 Jia Zhangke • Gus Van Sant p.14/15 — Michael Haneke • Xavier Dolan p.16/17 Buster Keaton • Claude Chabrol p.18/19 Actors p.31 Directors CHARLES CHAPLIN THE COMPLETE COLLECTION AVAILABLE IN 2K “A sort of Adam, from whom we are all descended...there were two aspects of — his personality: the vagabond, but also the solitary aristocrat, the prophet, the The Kid • Modern Times • A King in New York • City Lights • The Circus priest and the poet” The Gold Rush • Monsieur Verdoux • The Great Dictator • Limelight FEDERICO FELLINI A Woman of Paris • The Chaplin Revue — Also available: short films from the First National and Keystone collections (in 2k and HD respectively) • Documentaries Charles Chaplin: the Legend of a Century (90’ & 2 x 45’) • Chaplin Today series (10 x 26’) • Charlie Chaplin’s ABC (34’) 4 ABBas KIAROSTAMI NEWLY RESTORED In 2K OR 4K “Kiarostami represents the highest level of artistry in the cinema” — MARTIN SCORSESE Like Someone in Love (in 2k) • Certified Copy (in 2k) • Taste of Cherry (soon in 4k) Shirin (in 2k) • The Wind Will Carry Us (soon in 4k) • Through the Olive Trees (soon in 4k) Ten & 10 on Ten (soon in 4k) • Five (soon in 2k) • ABC Africa (soon -
Movie Museum JUNE 2010 COMING ATTRACTIONS
Movie Museum JUNE 2010 COMING ATTRACTIONS THURSDAY FRIDAY SATURDAY SUNDAY MONDAY SUMMER HOURS BRIDE FLIGHT SUMMER HOURS Hawaii Premiere! HOT ENOUGH FOR aka L'heure d'été (2008-Netherlands/ aka L'heure d'été HACHI: A DOG'S TALE JUNE (2008-France) Luxembourg) (2008-France) (2009-US/UK) aka Agent 008 3/4 in Dutch/Eng w/ Eng subtitles in French/Eng w/Eng subtitles in French/English w/English in English/Japanese with (1964-UK) subtitles in widescreen with Karina Smulders, Rutger with Juliette Binoche. English subtitles & widescreen with Dirk Bogarde, Sylva with Juliette Binoche, Charles Hauer, Waldemar Torenstra. 12:15, 2:15 & 8:45 only with Richard Gere, Joan Allen, Berling, Jérémie Renier, Edith 12:30pm only Koscina, Robert Morley, Leo --------------------------------- Cary-Hiroyuki Tagawa, Sarah McKern, John Le Mesurier. Scob, Dominique Reymond, --------------------------------- Roemer, Jason Alexander. Kyle Eastwood. BRIDE FLIGHT Hawaii Premiere! (2008-Netherlands/ Directed by HACHI: A DOG'S TALE Luxembourg) Directed by Written and Directed by Ralph Thomas. Olivier Assayas. (2009-US/UK) in Dutch/Eng w/ Eng subtitles Lasse Hallström. in Eng/Jap w/ Eng subtitles with Karina Smulders, Rutger 12:30, 2:30, 4:30, 6:30 with Richard Gere, Joan Allen. Hauer. Waldemar Torenstra. 12:30, 2:30, 4:30, 6:30 12:30, 2:30, 4:30, 6:30 4:15 & 6:30pm only & 8:30pm 3 3, 5, 7 & 9pm 4 5 & 8:30pm 6 & 8:30pm 7 Hawaii Premiere! Hawaii Premiere! SHUTTER ISLAND Hawaii Premiere! Film Noir Double Feature THE RED BARON THE MESSENGER (2010) THE MESSENGER DANGEROUS CROSSING aka Der rote Baron (2009) in widescreen (2009) (1953) (2008-Germany/UK) in widescreen with Leonardo DiCaprio, in widescreen Jeanne Crain, Michael Rennie. -
And the Ship Sails On
And The Ship Sails On by Serge Toubiana at the occasion of the end of his term as Director-General of the Cinémathèque française. Within just a few days, I shall come to the end of my term as Director-General of the Cinémathèque française. As of February 1st, 2016, Frédéric Bonnaud will take up the reins and assume full responsibility for this great institution. We shall have spent a great deal of time in each other's company over the past month, with a view to inducting Frédéric into the way the place works. He has been able to learn the range of our activities, meet the teams and discover all our on-going projects. This friendly transition from one director-general to the next is designed to allow Frédéric to function at full-steam from day one. The handover will have been, both in reality and in the perception, a peaceful moment in the life of the Cinémathèque, perhaps the first easy handover in its long and sometimes turbulent history. That's the way we want it - we being Costa-Gavras, chairman of our board, and the regulatory authority, represented by Fleur Pellerin, Minister of Culture and Communication, and Frédérique Bredin, Chairperson of the CNC, France's National Centre for Cinema and Animation. The peaceful nature of this handover offers further proof that the Cinémathèque has entered into a period of maturity and is now sufficiently grounded and self-confident to start out on the next chapter without trepidation. But let me step back in time. Since moving into the Frank Gehry building at 51 rue de Bercy, at the behest of the Ministry of Culture, the Cinémathèque française has undergone a profound transformation. -
Carte Italiane
REVIEWS 67 nella cit. recensione, p. 2006, il richiamo ai « bigonzoni » e agli altri termini ariostcschi non vale propriamente da citazione testuale, ma da riferimento a memoria. Questo peraltro potrebbe anche confermare la provvisorietà di una redazione dei DL consistente in pura dinamica di pensiero, senza il soccorso e la mediazione di libri e documenti. Recent Publications in the Field ofltalian Cinema To date the best introduction to Italian cinema available in English is Peter Bondanella's Italian Cinema from Neo-realism to the Present (Ungar, 1983) of which Fellini himself has said: "... a very good hook, and an accurate one." The material in the Bondanella text is cen- tered around a selection of representative films which are discussed at length and presented in their historical and cultural context. This fo- cus helps the reader orient him/herself and is essential for the newcomer to the rather vast subject of Italian film production. For those who might he interested in tracking down a copy of a film, Bondanella's section on rental information will undoubtedly prove quite valuable. A more recent attempi on the same subject is Mira Leihm's Passion and Defiance. Film in Italy from 1942 to the Present (UC Press, 1984). Liehm's text, while offering a large section on the generally neglected early Italian film (1930-42) and a greater emphasis on Italian cinema before 1952, not to mention a wide selection of photographic illustra- tions (147 m ali!) ends up resembling more a compendium of names and titles while providing only brief descriptions and superficial ana- lyses of the films themselves. -
Italian Films (Updated April 2011)
Language Laboratory Film Collection Wagner College: Campus Hall 202 Italian Films (updated April 2011): Agata and the Storm/ Agata e la tempesta (2004) Silvio Soldini. Italy The pleasant life of middle-aged Agata (Licia Maglietta) -- owner of the most popular bookstore in town -- is turned topsy-turvy when she begins an uncertain affair with a man 13 years her junior (Claudio Santamaria). Meanwhile, life is equally turbulent for her brother, Gustavo (Emilio Solfrizzi), who discovers he was adopted and sets off to find his biological brother (Giuseppe Battiston) -- a married traveling salesman with a roving eye. Bicycle Thieves/ Ladri di biciclette (1948) Vittorio De Sica. Italy Widely considered a landmark Italian film, Vittorio De Sica's tale of a man who relies on his bicycle to do his job during Rome's post-World War II depression earned a special Oscar for its devastating power. The same day Antonio (Lamberto Maggiorani) gets his vehicle back from the pawnshop, someone steals it, prompting him to search the city in vain with his young son, Bruno (Enzo Staiola). Increasingly, he confronts a looming desperation. Big Deal on Madonna Street/ I soliti ignoti (1958) Mario Monicelli. Italy Director Mario Monicelli delivers this deft satire of the classic caper film Rififi, introducing a bungling group of amateurs -- including an ex-jockey (Carlo Pisacane), a former boxer (Vittorio Gassman) and an out-of-work photographer (Marcello Mastroianni). The crew plans a seemingly simple heist with a retired burglar (Totó), who serves as a consultant. But this Italian job is doomed from the start. Blow up (1966) Michelangelo Antonioni. -
Like Someone in Love
1 MK2 & Eurospace present A film by Abbas Kiarostami INTERNATIONAL PRESS INTERNATIONAL SALES Vanessa Jerrom & Claire Vorger MK2 11 rue du Marché Saint-Honoré - 75001 Paris (France) 55 rue Traversière - 75012 Paris (France) Email: [email protected] Juliette Schrameck - [email protected] Cell: +33 6 14 83 88 82 (Vanessa Jerrom) Dorothée Pfistner - [email protected] Cell: +33 6 20 10 40 56 (Claire Vorger) Victoire Thevenin - [email protected] In Cannes : Five Hotel 1 rue Notre-Dame - 06400 Cannes France Photos and presskit can be downloaded on www.mk2pro.com 2 3 synopsis An old man and a young woman meet in Tokyo. She knows nothing about him, he thinks he knows her. He welcomes her into his home, she offers him her body. But the web that is woven between them in the space of twenty-four hours bears no relation to the circumstances of their encounter. 4 5 new awakening Without doubt, there was an underlying sense of gnawing depravity that surfaced in Certified Copy and took me by surprise. I was sure that I already had a good understanding of the work of this film-maker that I have been lucky enough to come across so often in the past 25 years. So I was not expecting his latest film to outstrip the already high opinion I have of his work. Some people like to feel that they can describe and pigeonhole his films as ‘pseudo-simplistic modernism’. But Abbas’ films have never failed to surprise and now here, not for the first time, is a new wake-up call, for me, and I am sure many others. -
FS 300 from CINECITTÀ STUDIOS to REAL LOCATIONS: a JOURNEY THROUGH ITALIAN CINEMA MADE in ROME IES Abroad Rome – Language & Area Studies
FS 300 FROM CINECITTÀ STUDIOS TO REAL LOCATIONS: A JOURNEY THROUGH ITALIAN CINEMA MADE IN ROME IES Abroad Rome – Language & Area Studies DESCRIPTION: The course offers the unique opportunity to study Italian Cinema from the birth of Cinecittà Studios in 1937 to the present, visiting the settings, studios and real locations where some landmark films were shot. The selected movies share the characteristic of having being all filmed in Rome, which can be considered the capital of the Italian film industry. Therefore, Rome will be explored through the eyes of some of the most influential film directors and revealed as a source of inspiration for directors such as De Sica, Rossellini, Fellini, Scola, Monicelli, Pasolini, Leone, Moretti, Virzì and Sorrentino. The selected films will be discussed in class through an extensive historical analysis and a critical approach in order to understand the contribution of Italian cinema to the development of world cinema and the role of cinema in shaping of Italian society and culture. Students will visit the locations used to shoot the movies analyzed in class in order to understand how they were filmed and to learn the specific elements of film language and film techniques utilized by the different directors. CREDITS: 3 CONTACT HOURS: 45 LANGUAGE OF INSTRUCTION: English PREREQUISITES: None METHOD OF PRESENTATION: Lectures, screenings, individual or group film watching at IES multimedia lab after class, course- related trips, use of multimedia and Internet resources for research purposes, film analysis and class debates on main Italian film directors and their work. REQUIRED WORK AND FORM OF ASSESSMENT: • Class participation - 10% • Film review – 20% • Oral presentation of film review – 10% • Midterm exam – 30% • Final exam – 35% Film Review on movie chosen by the student Students will analyze a chosen film from a technical and critical point of view and will contextualize the movie in its director’s life and artistic career. -
Cannes 2001 Report
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Waterloo Library Journal Publishing Service (University of Waterloo, Canada) Cannes 2001 Report By Ron Holloway Fall 2001 Issue of KINEMA CANNES INTERNATIONAL FILM FESTIVAL 2001 Two events devotee of made the 54th Festival International du Film (9-20 May 2001) particularly memorable. The first was the news that, after 22 years as délégué général, Gilles Jacob stepped up to become Président while handing down the reins to Thierry Frémaux, the latter now divides his time between Cannes and duties as head of the Institute Lumière in Lyons. The other was the presence on the Croisette of seven previous Palme d’Or directors: Francis Ford Coppola (The Conversation, 1974, and Apocalypse Now, 1979), Ermanno Olmi (The Tree of Wooden Clogs, 1978), Shohei Imamura (The Ballad of Narayama, 1983, and The Eel, 1997), David Lynch (Wild at Heart, 1990), Joel and Ethan Coen (Barton Fink, 1991), and Abbas Kiarostami (The Taste of Cherries, 1997). One might add, too, that over the past quarter century each of their eight award-winning films helped considerably to set the tone and style of the world’s mostrevered film festival. Apocalypse Now Redux In the case of Apocalypse Now -- aka Apocalypse Now Redux, to denote a new version of an old film -- Francis Ford Coppola returned to Cannes with the completed version of his work-in-progress presented here 22 years ago. No less than 53 minutes were added to the re-edited 203-minute version, in addition to a re-mastered Technicolor transfer and a re-mastered soundtrack. -
Cgcinéma Presents
CGCINÉMA PRESENTS A FILM BY OLIVIERASSAYAS PHOTO © CAROLE BÉTHUEL CGCINÉMA PRESENTS JULIETTEBINOCHE KRISTENSTEWART CHLOË GRACEMORETZ A FILM BY OLIVIERASSAYAS 123 MIN – COLOr – 2.35 – DOLBY SRD 5.1 – 2014 PHOTO © CAROLE BÉTHUEL At the peak of her international career, Maria Enders (Juliette Binoche) is asked to perform in a revival of the play that made her famous twenty years ago. But back then she played the role of Sigrid, an alluring young girl who disarms and eventually drives her boss Helena to suicide. Now she is being asked to step into the other role, that of the older Helena. She departs with her assistant (Kristen Stewart) to rehearse in Sils Maria; a remote region of the Alps. A young Hollywood starlet with a penchant for scandal (Chloë Grace Moretz) is to take on the role of Sigrid, and Maria finds herself on the other side of the mirror, face to face with an ambiguously charming woman who is, in essence, an unsettling reflection of herself. SYNOPSIS 3 DIRECTOr’snote PHOTO © CAROLE BÉTHUEL © CAROLE PHOTO DIRECTOr’snote This film, which deals with the past, our relationship to our own past, long time. and to what forms us, has a long history. One that Juliette Binoche Writing is a path, and this one is found at dizzying heights, of time and I implicitly share. suspended between origin and becoming. It is no surprise that it We first met at the beginning of both our careers. Alongside André inspired in me images of mountainscapes and steep trails. There Téchiné, I had written Rendez-vous, a story filled with ghosts where, at needed to be Spring light, the transparency of air, and the fogs of age twenty, she had the lead role.