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Edmond Press
International Press International Sales Venice: wild bunch The PR Contact Ltd. Venice Phil Symes - Mobile: 347 643 1171 Vincent Maraval Ronaldo Mourao - Mobile: 347 643 0966 Tel: +336 11 91 23 93 Email: [email protected] Email: [email protected] Fax: 041 5265277 Carole Baraton 62nd Mostra Venice Film Festival: Tel: +336 20 36 77 72 Hotel Villa Pannonia Email: [email protected] Via Doge D. Michiel 48 Gaël Nouaile 30126 Venezia Lido Tel: +336 21 23 04 72 Tel: 041 5260162 Email: [email protected] Fax: 041 5265277 Silva Simonutti London: Tel: +33 6 82 13 18 84 The PR Contact Ltd. Email: [email protected] 32 Newman Street London, W1T 1PU Paris: Tel: + 44 (0) 207 323 1200 Wild Bunch Fax: + 44 (0) 207 323 1070 99, rue de la Verrerie - 75004 Paris Email: [email protected] tel: + 33 1 53 01 50 20 fax: +33 1 53 01 50 49 www.wildbunch.biz French Press: French Distribution : Pan Européenne / Wild Bunch Michel Burstein / Bossa Nova Tel: +33 1 43 26 26 26 Fax: +33 1 43 26 26 36 High resolution images are available to download from 32 bd st germain - 75005 Paris the press section at www.wildbunch.biz [email protected] www.bossa-nova.info Synopsis Cast and Crew “You are not where you belong.” Edmond: William H. Macy Thus begins a brutal descent into a contemporary urban hell Glenna: Julia Stiles in David Mamet's savage black comedy, when his encounter B-Girl: Denise Richards with a fortune-teller leads businessman Edmond (William H. -
Bodies of Desire and Bodies in Distress
Bodies of Desire and Bodies in Distress Bodies of Desire and Bodies in Distress: The Golden Age of Italian Cult Cinema 1970-1985 By Xavier Mendik Bodies of Desire and Bodies in Distress: The Golden Age of Italian Cult Cinema 1970-1985, By Xavier Mendik This book first published 2015 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2015 by Xavier Mendik All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-5954-0, ISBN (13): 978-1-4438-5954-7 This book is dedicated with much love to Caroline and Zena CONTENTS Acknowledgements .................................................................................... ix Foreword ................................................................................................... xii Enzo G. Castellari Introduction ................................................................................................ 1 Bodies of Desire and Bodies of Distress beyond the ‘Argento Effect’ Chapter One .............................................................................................. 21 “There is Something Wrong with that Scene”: The Return of the Repressed in 1970s Giallo Cinema Chapter Two ............................................................................................ -
Simon Boswell
SIMON BOSWELL SELECTED CREDITS ASHER (2018) JOHNNY FRANK GARRETT’S LAST WORD (2016) FLYTAP (2015) LORD OF ILLUSIONS(1995) HACKERS (1995) SHALLOW GRAVE (1994) BIOGRAPHY 'If you’re a movie fan you’ll certainly know his music: Simon Boswell is one of the UK’s finest living soundtrack composers.' TIME OUT Magazine. Simon has scored films by some of independent cinema’s incredible mavericks such as Danny Boyle’s ‘Shallow Grave’, Alejandro Jodorowsky’s ‘Santa Sangre’, Dario Argento’s ‘Phenomena’, Michael Hoffman’s ‘A Midsummer Night’s Dream’, Alex de la Iglesias’s ‘Perdita Durango’ and Richard Stanley’s ‘Hardware’ and ‘Dust Devil’. Most recently, Simon composed the original score for ‘Asher’ directed by Michael Caton-Jones, starring Ron Perlman. Along the way Simon has garnered many international awards and nominations, including 2 BAFTAs and a Classical Brit Award. After spending several young years in bands such as Advertising and Live Wire, Simon became a highly successful record producer and remixer. In 1982, his production of Italian superstar, Renato Zero, became one of the biggest selling Italian albums of all time, shifting a staggering 6 million copies. Later on his work with 23 Skidoo on 'Coup' evolved into the Chemical Brothers’ 'Block Rockin Beats'. He has also produced, amongst many others, Elton John, Dolly Parton, Marianne Faithful, Andrea Bocelli and Orbital. As a composer he is well known for combining electronic elements with orchestral instruments and his music has ranged vastly in style and tone since the mid 1980s. His work for horror and fantasy cinema is key, especially the Italian giallo films, and flicks like Clive Barker’s detective horror ‘Lord of Illusions’. -
This 2018 Film Is … • a Remake … • an Tribute … • a Reinterpretation … • an Update … • an “Offspring” …
The 50mm Club at CSUN Cinematheque November 20, 2018 An evening with David Kajganich Writer & Producer Suspiria (2018) dir. Luca Guadagnino Suspiria, an Amazon Studios production, played in competition in the 2018 Venice Film Festival This 2018 film is … • A remake … • An tribute … • A reinterpretation … • An update … • An “offspring” … of the 1977 Suspiria? David Kajganich, who wrote the screenplay & produced the film should be able to tell us! Suspiria (1977) directed by Dario Argento • Dario Argento – Italian filmmaker born in Rome in 1940 • Family of film producers – daughter Asia • Worked as a film critic & screenwriter - Once upon a Time in the West (1968, Sergio Leone) • Cultivates a subgenre of horror film called giallo Key films • Deep Red (1975) • Suspiria (1977) • Inferno (1980) • Tenebre (1982) • Mother of Tears (2007) Giallo as a film genre • Italian subgenre of horror film - 1960s-1970s • Best described as an hyperbolic serial-killer mystery • It generally has urban settings & disturbingly creative murders • “giallo” means “yellow”, & refers to the covers of a popular series of paperback thrillers published by Mondadori. Italian directors that worked in the giallo genre • Mario Bava • Lamberto Bava • Pupi Avati • Sergio Corbucci • Lucio Fulci • Carlo Lizzani • Elio Petri • Luigi Zampa Giallo outside of Italy This breed of slasher flick has influenced American directors: Brian De Palma, Dressed to Kill (1980) John Carpenter, Halloween (1978) Wes Craven, Nightmare on Elm Street (1984) Suspiria (1977) • Eerie tale of a naïve American ballet student who attends a haunted school in Freiburg, southern Germany • Mixes the vocabulary of the giallo genre with art-film surrealist esthetics • Has become a cult film – 2-DVD Criterion edition • Argento used the standard formula for giallo, more interested in how the movie feels & looks & sounds than in the story. -
Sergio Stivaletti
presentano DI SERGIO STIVALETTI CON RICCARDO DE FILIPPIS ROMINA MONDELLO VIRGILIO OLIVARI Uscita 7 giugno 2018 Durata 116’ www.rabbiafuriosa.it UFFICIO STAMPA ALESSANDRO SAVOIA +39 328 91 59 817 [email protected] FRANCESCO LOMUSCIO +39 349 839 1707 [email protected] COMUNICAZIONE ROBERTA NARDI AGENZIA SIMPLIZA +39 329 66 58 488 www.simpliza.it [email protected] RABBIA FURIOSA – ER CANARO CAST ARTISTICO Riccardo de Filippis Fabio “Er Canaro” Romina Mondello Anna Virgilio Olivari Claudio Renzi Gianni Franco Commissario Ferri Romuald Klos Lo sceriffo Rosario Petix Ispettore Lo Russo Luis Molteni Il boss Eleonora Gentileschi Silvia Ottaviano Dell’Acqua Spartaco Marco Ferri Er Cencio Eugen Neagu Ilie 2 CREDITI NON CONTRATTUALI RABBIA FURIOSA – ER CANARO CAST TECNICO Regia Sergio Stivaletti Soggetto Antonio Lusci, Sergio Stivaletti Sceneggiatura Antonio Lusci, Sergio Stivaletti, Antonio Tentori Fotografia Francesco Ciccone Montaggio Alfredo Orlandi, Crescenzo Mazza Musiche originali Maurizio Abeni Progettazione Scenografie Sergio Stivaletti Realizzazioni Scenografiche Tonino Di Giovanni Costumi Francesco Bureca Make Up Ed Effetti Speciali Fantastic Forge Vfx Cane Cane Suono Davide Gaudenzi, Giuseppe Manfrè Produttore Esecutivo Sergio Stivaletti Organizzatore Generale Beatrice Kildani Marketing e Comunicazione Agenzia Simpliza Una Produzione Apocalypsis Srl Prodotto da Sergio Stivaletti Per Apocalypsis Srl Distribuzione Apocalypsis Srl La colonna sonora originale é disponibile su cd Digitmovies 3 CREDITI NON CONTRATTUALI RABBIA FURIOSA – ER CANARO SCHEDA TECNICA Genere Thriller Durata 116’ Anno 2018 Paese Itaiia Formato di ripresa 4K Formato di proiezione DCP Screen ratio 2:35:1 Lingua originale Italiano Sottotitoli Inglese Suono 5.1 4 CREDITI NON CONTRATTUALI RABBIA FURIOSA – ER CANARO SINOSSI Fabio ha appena scontato otto mesi di galera per un crimine che non ha commesso, al posto di Claudio, un suo amico ex pugile, un delinquente di piccolo calibro che ambisce a diventare il boss del Mandrione (quartiere periferico romano). -
Un Secolo Di Cinema Firmato Bava – 2003
UN SECOLO DI CINEMA FIRMATO BAVA di Renato Venturelli La leggenda dei Bava, al cinema, dura ormai da quasi un secolo. Di padre in figlio, di figlio in nipote, è già arrivata alla quarta generazione: prima Eugenio (Francesco) Bava, eccentrica figura di inventore e mago degli effetti speciali fin dagli anni della Belle Epoque poi Mario, geniale direttore della fotografia e regista, oggetto di culto in tutto il mondo; quindi Lamberto, che cominciò lavorando al fianco del padre negli anni Sessanta diventando poi autore cinematografico e televisivo. E adesso Roy, che ha iniziato da qualche anno la sua carriera. Tutto era cominciato all’inizio del Novecento, quando nonno Eugenio (1886-1966) ricevette il primo incarico da parte del cinema: la costruzione di un caminetto per un film Pathé. All’epoca, aveva appena compiuto vent’anni, essendo nato a Sanremo nel 1886, e secondo il figlio Mario era il prototipo dell’artista bohémien. «Cravatta e fiocco rivoluzionario, basco alla Raffaello) era un artista - disse in un famoso intervento del 1976- era pittore, scultore,fotografo, chimico, elettricista, medium, inventore; perse anni a studiare il moto perpetuo. Verso il 1908 per una succosa storia, purtroppo troppo lunga da raccontare, conobbe il cinema. Si “incimiciò”, dette un calcio al passato, e si gettò a capofitto nella Nuova Arte, diventando operatore: all’epoca non si diceva direttore della fotografia.. «E non si chiamava nemmeno Eugenio — aggiunge Lamberto— ma Francesco: è il nome scritto anche sulla sua tomba». Negli anni Dieci, il capostipite dei Bava lavorò nella sua città, fondando anche la “San Remo Film”, poi passò all’Ambrosio di Torino, quindi si stabilì a Roma, responsabile del Reparto Animazione e Trucchi dell’istituto Luce, escogitando trucchi ed effetti speciali fin quasi alla morte, avvenuta nel 1966,quando aveva ottant’anni. -
Now in It's 30 Year 25Th
Now in it’s 30th Year 25th - 27th October 2019 Welcome to the third progress report for the thirtieth festival. We are pleased add another two guests have confirmed that can attend to complete the line-up for the festival. It just keeps getting better. How are you going to fit it all in? Writer/Director/Special Dez Skinn, Effects and Make-up Publisher— back by Design supremo popular request to Sergio Stivaletti finish the stories he started last year. Help us celebrate the past thirty years by sharing your memories of festivals past. Send us your photographs and tell us what you remember. We hope to include some of these in the festival programme book. Guests The following guests have confirmed that they can attend (subject to work commitments). Lawrence Deirdre Giannetto Janina Gordon Clark Costello De Rossi Faye Dana Pauline Norman J. Gillespie Peart Warren 1 A message from the 3 Festival’s Chairman 2010 As we approach Festival number 30 - one of the best 2011 things we can look forward to is getting to see a lot of faces who have been around for at least 20 or more years, who, like me, are beginning to show that it isn’t just films that age. 2012 It has been a hard task to find new guests but we managed it again this year – in fact we have some real quality guests in both the acting profession and the 2013 behind-the-screen work. When I, Tony, Harry and Dave Trengove started this event we were thinking it might continue for about 5 2014 years - not 30! So I would like to say that the success of the event, has been firmly in the hands of those mentioned and several other persons (some unfortunately no longer with us). -
Il Profumo Della Signora in Nero and the Giallo Film
Scope: An Online Journal of Film and Television Studies Issue 22 February 2012 Cannibals and Other Impossible Bodies: Il Profumo Della Signora In Nero and the Giallo film Alexandra Heller-Nicholas, Swinburne University of Technology, Melbourne, Australia For cult film audiences and academics alike, the Italian giallo film is considered predominantly an auteurist domain, where films by the subgenre‟s big names—Mario and Lamberto Bava, Lucio Fulci, Aldo Lado, Sergio Martino, Umberto Lenzi, Luciano Ercoli, and of course Dario Argento—have generally garnered the most attention. Translating literally to “yellow,” the word giallo refers to the yellow covers of the pulp crime novels released by publisher Mondadori during the 1920s, locating the origins of the giallo in the work of authors such as Edgar Wallace. As one of the first giallo films, Mario Bava‟s The Girl Who Knew Too Much (La ragazza che sapev troppo, 1962) contains many of the giallo film‟s signature elements: sex, crime, and most famously a psychotic killer in black leather gloves. But as Mikel J. Koven notes in his book La Dolce Morte: Vernacular Cinema and the Italian Giallo Film (2006), these generic traits are far from uniform, and a privileging of the most well- known giallo auteurs risks missing the subgenre‟s thematic foundations. Inherent to Koven‟s analysis of giallo is its status as a fundamentally Italian cultural phenomenon. However, the reality of their production contexts speaks of a category that expanded far beyond national borders. While the giallo film is commonly discussed in terms of its fundamental “Italianness,” it is worthy of note that 68 of the 134 films listed in Adrian Luther Smith‟s book Blood and Black Lace: The Definitive Guide to Italian Sex and Horror Movies (1999) are international co-productions. -
The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies Or How to Be the Living Dead in Technicolor
Title: The incredibly strange creatures who stopped living and became mixed-up zombies or how to be the living dead in technicolor Katarzyna Ancuta Author: Citation style: Ancuta Katarzyna. (2002). The incredibly strange creatures who stopped living and became mixed-up zombies or how to be the living dead in technicolor. W: W. Kalaga, T. Rachwał (red.), "(Trans)-formations I : identity and property : essays in cultural practice" (S. 11-28). Katowice : Wydawnictwo Uniwersytetu Śląskiego Katarzyna Ancuta The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies or How to be the Living Dead in Technicolor Yeah, they’re dead, they’re all messed up. George A. Romero It is hard to be a zombie. Slaving all day for no reward, driven by insa tiable hunger, feared, unwanted, unloved. “If your sister were a zombie, what would you do for her?” reads one of the questions of a zombie trivia quiz. The answer bears the weight of a moral judgement: “Ignore her.” How come then that those miserable soulless creatures have managed to become cultural icons of the end of the 20th century? The aim of this paper is to shed some light on the infatuation of contem porary culture with zombies/the living dead resulting from the glorification of inertia. Zombies, as presented in the article, are understood in terms of par adoxical entities defined primarily through their lack of identity and, as such, acquiring new properties and becoming a new identity, instantly recognisable to anyone but themselves. Beginning with George A. Romero’s trilogy of the Living Dead (1968/1978/ 1985), and especially his consumer zombies, I intend to investigate the image of the living dead, as springing from a number of contemporary film produc tions and literature, and discuss its interdependence on the representation of mental disease. -
Asia Argento
Asia Argento Asia Argento (Italian: [ˈaːsja arˈdʒɛnto]; born Aria Maria Vittoria Rossa Argento; 20 September 1975)[1] is an Italian actress, singer, model, and director. The daughter of filmmaker Asia Argento Dario Argento, she is best known for her roles in the films XXX (2002), Land of the Dead (2005) and Marie Antoinette (2006). She is one of the most vocal and central proponents of the modern anti-sexual assault and women's rights movement #MeToo, having been one of the thirteen women profiled by New Yorker magazine about Harvey Weinstein's sexual abuse scandal.[2] In August 2018, an article published in The New York Times detailed allegations that she sexually assaulted Jimmy Bennett, a then 17-year-old actor and musician, in a California hotel in 2013, and arranged to pay $380,000 to her accuser.[3] Contents Early life Career Personal life Harvey Weinstein scandal Alleged sexual assault of Jimmy Bennett Recognition Filmography Argento at 2013 Cannes Film Film Festival Television Born Aria Maria Video games Vittoria Rossa Music videos Argento Discography 20 September References 1975 External links Rome, Italy Nationality Italian Other names Aria Argento Early life Occupation Actress, Her father is Dario Argento, an Italian film director, producer and screenwriter, well known for his work in the Italian giallo genre and for his influence on director, singer, modern horror and slasher movies.[4] Her mother is actress Daria Nicolodi and her maternal great-grandfather was composer Alfredo Casella.[1] model, DJ, writer When Argento was born in Rome, the city registry office refused to acknowledge "Asia" as an appropriate name, and instead officially inscribed her as Years active 1985–present "Aria" (a name accepted by the city registry). -
Argento's Aesthetic Alignments
Argento's Aesthetic Alignments: A Cognitive Approach to the Films of Dario Argento by Nia Edwards-Behi MA Film Studies 2010 Aberystwyth University Argento‟s Aesthetic Alignments Contents Acknowledgements ... i Introduction ... 1 Chapter One - Dario Argento: Contexts and Precedents ... 5 Chapter Two - “Why do you despise women so much?” The Camera in Tenebrae ... 14 Chapter Three - “This isn‟t one of your crummy movies!” Editing Terror at the Opera ... 23 Chapter Four - “I‟m blind, not deaf, you get it? Not deaf!” The Sounds of Suspiria ... 29 Conclusion - Argento‟s Aesthetic Alignment ... 37 Bibliography ... 42 Filmography ... 45 Appendix A – Tenebrae (I) ... 47 Appendix B – Tenebrae (II) ... 50 Appendix C – Terror at the Opera ... 54 Appendix D - Suspiria ... 57 Acknowledgements My first and foremost thanks must go to my supervisor, Dr. Paul Newland, without whose invaluable guidance my work would still be an incoherent jumble of thoughts on paper. Secondly, to Holly and Liam Dacre-Davis, for keeping me motivated and distracted in equally as useful measures; and to Sarah Bertram, Sarah Harman, Bethan Jones and Jonna Verdel for lending an ear when it was needed. Finally, to my parents, for always being interested in and supportive of my work, even when it‟s about something as horrific as Dario Argento. i Introduction “I like women, especially beautiful ones. If they have a good face and figure, I would much prefer to watch them being murdered than an ugly girl or man.” – Dario Argento1 A man‟s teeth smash onto a table edge, before he is stabbed through the neck. Another is dragged along a road by a truck before having his skull crushed in oncoming traffic. -
Catalogo Ravenna Nightmare Film Fest 2020
RAVENNA NIGHTMARE XVIII edizione FILM FEST the dark side of movies Marco Bellocchio Online Edition www.ravennanightmare.it dal 31. ott > su Info point - Palazzo dei Congressi, Ravenna al 8. nov 2020 [email protected] / 3495162425 IN COLLABORAZIONE CON CON IL CONTRIBUTO DI IN COLLABORAZIONE CON CON IL SOSTEGNO DI CONCESSIONARIA DI MAIN PARTNER IDEATO E PUBBLICITÀ ORGANIZZATO DA L’Emilia-Romagna? Quella fantastica visione di una terra ricca di cinema. Emilia-Romagna Film Commission è una struttura pubblica, istituita dalla Regione quale interlocutore ideale di produzioni, enti, imprese e professionisti che operano sul territorio regionale. Promuove e coordina le politiche regionali sull’intera filiera cinematografica, dalla promozione della cultura cinematografica alla incentivazione della produzione e sviluppo di opere cinematografiche. La nostra missione è incoraggiare e sostenere le produzioni cinematografiche e audiovisive, nazionali ed internazionali, con l’obiettivo aggiuntivo di valorizzare il patrimonio culturale, ambientale e storico dell’Emilia-Romagna, nonché le risorse umane che vi operano. Nel 2014 queste attività hanno ricevuto un nuovo impulso con l’approvazione della legge regionale n. 20 “Norme in materia di cinema e audiovisivo” e la gestione dei primi bandi nel 2015. In nostro raggio d’azione spazia dal sostegno allo sviluppo, produzione, post-produzione, fino all’approdo in sala passando poi anche per un importante tassello come il sostegno ai festival e rassegne che rappresenta la parte di alfabetizzazione del pubblico. Il nostro lavoro produce ricadute dirette ed indirette sul territorio, sotto il profilo economico, sociale e culturale. Dal 2015 ad oggi grazie al fondo abbiamo ospitato, assistito e finanziato importanti produzioni nazionali ed internazionali; dialogato con le principali associazioni di categoria del comparto cinematografico; rafforzato la collaborazione con i comuni coinvolti come location nei film; consolidato la variegata rete dei festival presenti sul nostro territorio.