SALVATORE FERRAGAMO GUEST LIST CO-ED SS21 FASHION SHOW MILAN, SEPTEMBER 26Th, 2020 Rotonda Della Besana

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SALVATORE FERRAGAMO GUEST LIST CO-ED SS21 FASHION SHOW MILAN, SEPTEMBER 26th, 2020 Rotonda della Besana MARISA BERENSON American actress. One of the lead females in film director Luca Guadagnino’s film “I Am Love”. Her latest film releases include “Broken Poet” and is currently working on a new film “Connemara” with Elodie Bouchez. Instagram Followers: 26,8K ESTHER GARREL French actress. Daughter of film-maker Philippe Garrel and actress Brigitte Sy, sister to actor Louis Garrel. Co-starred as Marzia in “Call Me By Your Name” directed by Luca Guadagnino. Her latest film releases include “Adventures of a Mathematician” and a short film “Filles Bleues/peur blanche”. Instagram Followers: 38,1K PAAPA ESSIEDU English actor. Seen as “Kwame” in BBC and HBO’S successful “ I May Destroy You” by Bafta winner director Michaela Coel. Has joined the cast of ITV’S Black Lives Matter inspired drama series “Unsaid Stories”. Also plays the role of Alex Dumani in HBO’S TV series “Gangs of London”. Instagram Followers: 18,1K ALESSANDRO ROJA Italian actor. Known for his role in “Romanzo Criminale – La Serie”. Stars in “Si Muore Solo Da Vivi” directed by Alberto Rizzi. Will also be in theatres with the film “Diabolik” along with Luca Marinelli and Miriam Leone. Instagram Followers: 117K MATILDE GIOLI Italian actress. Known for her role in “Il Capitale Umano” by Paolo Virzì. Her latest projects include TV series “Doc” with Luca Argentero and this week release of the docu- series “Illuminate” where she interprets prolific Italian architect Gae Aulenti. Instagram Followers: 251K FILIPPA LAGERBACK Swedish television presenter and model. Instagram Followers: 647K ALESSIA BONARI Italian nurse symbol of the fight against Covid-19. Instagram Followers: 129K 1 .

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18 Jan 19 28 Feb 19
18 JAN 19 28 FEB 19 1 | 18 JAN 19 - 28 FEB 19 49 BELMONT STREET | BELMONTFILMHOUSE.COM What does it mean, ‘to play against type’? Come January/February you may find many examples. Usually it’s motivated by the opportunity to hold aloft a small gold-plated statue, but there are plenty memorable occasions where Hollywood’s elite pulled this trope off fantastically. Think Charlize Theron in Monster. Maybe Jim Carrey in Eternal Sunshine? Or Heath Ledger as Joker. These performances often come to dominate award season. Directors wrenching a truly transformative rendition out of their leads can be the difference between a potential big winner fading into obscurity, or being written into history. The class of 2019 appears particularly full of these turns. There might well be as much intrigue in figuring out which will be remembered, as in watching the performances themselves. ‘Unrecognisable as’ awards could go out to Margot Robbie as Elizabeth I in Mary Queen Of Scots; Melissa McCarthy in Can You Ever Forgive Me?; Nicole Kidman in Destroyer; Christian Bale as Dick Cheney in Vice. Others of course have been down this road before. Steve Carell has come a long, long way since Michael Scott and he looks tremendous in Beautiful Boy. And Matt Dillon, who we’ll see in The House That Jack Built, has always had a penchant for the slightly off-colour. There’s probably no one more off-colour than Lars von Trier. Screening for one night only. At Belmont Filmhouse we try to play against type as much as possible.
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Philippe Garrel Rétrospective 18 Septembre – 20 Octobre
PHILIPPE GARREL RÉTROSPECTIVE 18 SEPTEMBRE – 20 OCTOBRE Les Baisers de secours L’ART DE L’INSTANT Digne successeur de la Nouvelle Vague, Philippe Garrel fait des films à la première personne. Le cinéma lui sert à restituer les pulsations de la vie. Vie affective avant tout. Le couple ou la difficulté de rester ensemble, scan- dés de film en film, de façon obsessionnelle. L’enfant, comme onde de choc. Et puis la politique qui entretient avec l’amour passionnel un lien immuable. Expérimental au commencement (Le Révélateur, La Cicatrice intérieure), son cinéma devient plus narratif à partir des Baisers de secours. L’introspection reste intacte. Séparation (J’entends plus la guitare) et fin des idéaux (Les Amants réguliers), autant de variations autour des femmes de sa vie, de la naissance à la mort de l’amour. La dernière fois, c’était il y a quinze ans. La précédente rétrospective de l’œuvre de Philippe Garrel à La Cinémathèque française date de juin 2004. Depuis, ce cinéma de l’expérience n’a ni faibli ni renoncé. N’a pas capitalisé, ni voulu s’édifier en quelconque règle. Il a continué, avec une régularité prodigieuse, à poursuivre une idée, à tisser une ligne de vie. Celle-ci a pris, plusieurs fois, de façon de plus en plus violente, la forme d’un doute, d’une remise en question. Les films se sont enchaînés, intriqués, répondus (avec ceci de drôle, chez Garrel : souvent, quand un film surgit, le titre du film précédent l’éclaire davantage : L’Ombre des femmes aurait pu s’appeler La Jalousie, L’Amant d’un jour pourrait facilement être titré L’Ombre des femmes.
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Introduction
1 Introduction Philippe Garrel, an irregular auteur In April 2013, a retrospective of Philippe Garrel’s fi lms took place at the Magic Cin é ma, a municipal theatre in Bobigny, outside Paris. Such a location, on the periphery of the French capital, may seem inappropriate for the work of a longstanding director whom the fi lm critic Serge Daney spoke of as ‘le seul grand cin é aste fran ç ais de ma g é n é ration’ 1 (Jousse 1991 : 58). But both the accolade and this peripheral location are revealing of the ambiguous position Garrel has occupied within French fi lm culture during the last half century. While held in high esteem by peers and critics, he is only beginning now to receive some mainstream and popular recognition. This increased recognition is evidenced by the fi rst French international conference on Garrel that took place at Paris Nanterre University in November 2018 and by a more recent retrospective of Garrel’s work at the Cin é math è que Fran ç aise in September 2019. Garrel’s status as a critically respected yet marginal fi gure may be explained by the fact that his cinema occupies an uncertain terrain in the history of French cinema, somewhere between the New Wave and the vast heterogeneous body of French cinema that developed in its aftermath. This anomalous position is compounded by an oeuvre that often resists straightforward exegetical criticism, and challenges traditionally held critical oppositions such as those of the real and the imaginary, documentary and fi ction, political and personal, avant- garde and mainstream.
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L'amant D'un Jour
L’AMANT D'UN JOUR DIRECTED BY PHILIPPE GARREL // 2017 // FRANCE // 76 MIN Contact Information — U.S. Contact Information — U.K. Media: Julia Pacetti, JMP Verdant Publicity: Chris Boyd, Organic [email protected] / 718 399 0400 [email protected] / 020 3372 0970 Booking: Ian Stimler and Mika Kimoto, KimStim Booking: Martin Myers [email protected] / [email protected] [email protected] For all other questions, contact Lilly Riber, MUBI For all other questions, contact Sanam Gharagozlou, MUBI [email protected] / 803 479 3737 [email protected] / 07407 713406 Synopsis After a devastating breakup, the only place twenty-three-year old Lover for a Day premiered in the Directors’ Fortnight at Cannes, where Jeanne has to stay in Paris is the small flat of her father, Giles. But it was awarded the SACD prize from the French Writers and Directors when Jeanne arrives, she finds that her father’s new girlfriend has Guild, and is an Official Selection of the 2017 New York Film Festival. moved in too: Arianne, a young woman her own age. Each is looking for their own kind of love in a city filled with possibilities. Reviews “Alluring and very elegantly crafted” Variety “A bittersweet, and intoxicating study of relationships in flux” The Film Stage “The images—exquisitely shadowed black-and-white 35mm— give the narrative a timelessness that is precisely the point of Garrel’s enterprise” Film Comment “Delectable” ScreenDaily “The film benefits from the collective contributions of four screenwriters… whose collective insights result in a beautiful
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Eric Caravaca Esther Garrel Louise Chevillotte a Film By
SAÏD BEN SAÏD & MICHEL MERKT PRESENT ERIC CARAVACA ESTHER GARREL LOUISE CHEVILLOTTE CRÉDITS NON CONTRACTUELS CRÉDITS (L’AMANT D’UN JOUR) A FILM BY PHILIPPE GARREL PHOTOS : © 2016 GUY FERRANDIS / SBS FILMS PHOTOS : © 2016 GUY FERRANDIS / SBS FILMS FILMOGRAPHY PHILIPPE GARREL 2017 LOVER FOR A DAY 2014 IN THE SHADOW OF WOMEN 2013 JEALOUSY In Competition, Venice 2013 2011 THAT SUMMER In Competition, Venice 2011 2005 FRONTIER OF DAWN Official Selection, Cannes 2008 2004 REGULAR LOVERS Silver Lion, Venice 2005 Louis Delluc award 2005 FRIPESCI Prize European Discovery, 2006 2001 WILD INNOCENCE International Critics’ Award, Venice 2001 1998 NIGHT WIND 1995 LE CŒUR FANTÔME films together without the lights being brought up 1993 LA NAISSANCE DE L’AMOUR between them. Before that, Athanor had been SYNOPSIS 1990 J’ENTENDS PLUS LA GUITARE attacked by a critic, who said I was banging my This is the story of a father, his 23-year-old Silver Lion, Venice 1991 head against a wall, against the obvious fact that daughter, who goes back home one day because 1988 LES BAISERS DE SECOURS she has just been dumped, and his new girlfriend, cinema was movement. La Cicatrice was tracking who is also 23 and lives with him. shots and music. Athanor was silence and still 1984 ELLE A PASSÉ TANT D’HEURES shots. Then it was back to Le Berceau with Ash SOUS LES SUNLIGHTS Ra Tempel’s music. So Athanor worked fine as an 1984 RUE FONTAINE (short) interlude between two parts of a concert. This 1983 LIBERTÉ, LA NUIT DIRECTOR’S NOTE time, it is a trilogy; the films are not made to be Perspective Award, Cannes 1984 screened together.
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Thirst Street Press-Notes-Web.Pdf
A PSYCHOSEXUAL BLACK COMEDY Press Contacts: Kevin McLean | [email protected] Kara MacLean | [email protected] USA/FRANCE / 2017 / 83 minutes / English with French Subtitles / Color / DCP + Blu-ray Alone and depressed after the suicide of her lover, American flight attendant Gina (Lindsay Burdge, A TEACHER) travels to Paris and hooks up with nightclub bartender Jerome (Damien Bonnard, STAYING VERTICAL) on her layover. But as Gina falls deeper into lust and opts to stay in France, this harmless rendezvous quickly turns into unrequited amour fou. When Jerome’s ex Clémence (Esther Garrel) reenters the picture, Gina is sent on a downward spiral of miscommunication, masochism, and madness. Inspire by European erotic dramas from the 70’s, THIRST STREET burrows deep into the delirious extremes we go to for love. DIRECTOR’S STATEMENT THIRST STREET brings together two of my longest-standing, most nagging obsessions: France and Don Quixote. I spent my junior year of high school as an exchange student in France, in a foolish attempt to live out my dream of being a French poet. I realized within days that I wasn’t French (and never would be) and that poetry wasn’t for me, but nearly two decades later, I still find myself just as obsessed with the place. Our protagonist Gina is my Quixote, unflinching in her quest to find that most important (and ridiculous) thing: love. The emotions of THIRST STREET are just as hysterical as those in my last few movies, but the style here is much more fluid and deliberate, with surreal lighting increasingly threatening to devour the picture.
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Palestine Festival
APRIL 018 GAZETTE 2 ■ Vol. 46, No. 4 17TH ANNUAL CHICAGO PALESTINE FESTIVAL MORE FRIDAY MATINEES! THE JUDGE, May 3 OPEN-CAPTIONED SCREENINGS! ALSO: Asian American Showcase, 164 N. State Street Lucrecia Martel www.siskelfilmcenter.org CHICAGO PREMIERE! 2017, Alison Chernick, USA, 80 min. “Briskly entertaining…Good music and good company make ITZHAK a pleasure.” —Dennis Harvey, Variety. ITZHAK is a warm and intimate portrait of Itzhak Perlman, widely considered the greatest violinist of his time. We learn of the Israeli- born virtuoso’s battle with polio, and we see his breakthrough performance on the Ed Sullivan Show at age thirteen. But ITZHAK is less a biographical look-back than a present-tense chance to hang out with the effervescent and still very active 72-year-old as he zips around Manhattan in his motorized wheelchair. In English and Hebrew with English subtitles. DCP digital. (MR) April 6—12 Fri., 4/6 at 2 pm and 6:15 pm; Sat., 4/7 at 3:15 pm and 7:45 pm; Sun., 4/8 at 3 pm; Mon., 4/9 at 6 pm; Tue., 4/10 at 8:15 pm; ITZHAK Wed., 4/11 at 6:15 pm; Thu., 4/12 at 8:15 pm CHICAGO PREMIERE! April 6—12 Fri., 4/6 at 1:45 pm and 6 pm; Sat., 4/7 at 8 pm; Sun., 4/8 at 2:45 pm; Mon., 4/9 at 7:45 pm; Tue., 4/10 at 6 pm; Wed., 4/11 at 8 pm; Thu., 4/12 at 6 pm Outside2017, Lynn Shelton, USA, 109 min.
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September 28–October 15, 2017 . Filmlinc.Org/Nyff Table of Contents
SEPTEMBER 28–OCTOBER 15, 2017 . FILMLINC.ORG/NYFF TABLE OF CONTENTS Schedule 2 Spotlight on Documentary 46 Main Slate 6 Projections 56 Shorts 20 Retrospective: Robert Mitchum Centenary 64 Talks 22 Artist Initiatives 80 Special Events 24 Film Society Board & Staff 82 Convergence 32 About the Film Society 84 Revivals 36 NEW YORK FILM FESTIVAL PROGRAMMERS SELECTION COMMITTEE MAIN SLATE . REVIVALS . SPOTLIGHT ON DOCUMENTARY Kent Jones Chair Florence Almozini Associate Director of Programming, Film Society of Lincoln Center (FSLC) Dennis Lim Director of Programming, FSLC Amy Taubin Contributing Editor, Film Comment and Artforum CONVERGENCE PROJECTIONS RETROSPECTIVE Matt Bolish Dennis Lim & Aily Nash Kent Jones & Dan Sullivan SHORTS Narrative: Gabi Madsen . Genre Stories: Laura Kern . New York Stories: Dan Sullivan . Documentary: Tyler Wilson NYFF 4C MAG - FULL PAGE INSIDE FRONT COVER AMA1157 ISSUE DATE: XX/XX/17 FINAL2 DUE DATE: 08/24/17 08/24/17 10:45AM ES MECHANICAL SIZE TRIM: 8.25"W x 8.5"H LIVE: 7.75"W x 8"H BLEED: 8.5"W x 8.75"H SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY 28 29 30 SECTIONS: VENUES: OPENING NIGHT 4:00 Story of G.I. Joe ret/wrt 12:30 Four Sisters: se/ath 6:00 Last Flag Flying ms/ath 6:00 Mrs. Hyde ms/ath Hippocratic Oath cvg CONVERGENCE ALICE TULLY HALL 6:15 Last Flag Flying ms/wrt 6:00 Daughter of the Nile rev/fbt 12:45 New York Shorts sho/wrt ath West 65th Street at Broadway 9:00 Last Flag Flying ms/ath 6:30 El mar la mar doc/wrt 1:30 The Wonderful Country ret/fbt doc SPOTLIGHT ON DOCUMENTARY 9:15 Last Flag Flying ms/wrt 6:30 His Kind of Woman ret/hgt 3:00 Western ms/ath DOWNLOAD THE FILM SOCIETY APP! ELINOR BUNIN MUNROE FILM CENTER 7:00 VR and the Future of cvg/amp 3:00 No Stone Unturned doc/wrt ms MAIN SLATE 144 West 65th Street Virtual Production 3:00 The Old Dark House rev/hgt amp AMPHITHEATER by Lucasfilm (Free Talk) 4:00 Documentary Shorts sho/fbt pjt PROJECTIONS 8:30 The Square ms/ath 5:00 Pursued ret/hgt ebm LOBBY 8:30 Casa de Lava rev/fbt 6:00 Zama ms/ath FILMLINC.ORG/NYFF .
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Best Picture
Sony Pictures Classics is proud to present the following for your consideration. In the summer of 1983, in the north of Italy, Elio Perlman, (Timothée Chalamet) a 17- year-old American spends his days in his family’s 17th century villa lazily transcribing music and flirting with his friend Marzia (Esther Garrel). One day Oliver (Armie Hammer), a graduate student working on his doctorate arrives as the annual summer intern tasked with helping Elio’s father (Michael Stuhlbarg), an eminent professor specializing in Greco-Roman culture. Soon, Elio and Oliver discover a summer that will alter their lives forever. CALL ME BY YOUR NAME, directed by Luca Guadagnino and written by James Ivory, is based on the novel by André Aciman. For Your Consideration in all categories including BEST PICTURE BEST DIRECTOR Luca Guadagnino BEST ACTOR Timothée Chalamet BEST SUPPORTING ACTOR Armie Hammer Michael Stuhlbarg BEST SUPPORTING ACTRESS Amira Casar Esther Garrel BEST ADAPTED SCREENPLAY James Ivory BEST CINEMATOGRAPHY Sayombhu Mukdeeprom BEST FILM EDITING Walter Fasano BEST PRODUCTION DESIGN Samuel Deshors Production Design Violante Visconti Set Decoration BEST COSTUME DESIGN Giulia Piersanti BEST MAKEUP AND HAIRSTYLING Fernanda Perez Makeup Manolo Garcia Hairstyling BEST SOUND MIXING Yves-Marie Omnes Jean-Pierre Laforce BEST SOUND EDITING Davide Favargiotti David Quadroli BEST ORIGINAL SONG “The Mystery Of Love” “Visions Of Gideon” Written and performed by Sufjan Stevens You may attend the following. LOS ANGELES RSVP to [email protected] Thursday, January 4th 4:00 PM Real D Theater 100 N. Crescent Dr. Beverly Hills, CA 90210 Tuesday, January 9th 7:30 PM Dick Clark Productions 2900 Olympic Blvd.
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Venice&Toronto2017
VENICE&TORONTO2017 CONTACT IN VENICE TANJA MEISSNER (Sept. 5th > 8/9th ) | [email protected] | +33 6 22 92 48 31 CONTACTS IN TORONTO The Hyatt Hotel Mezzanine - Regency Ballroom - Unifrance Booth EMILIE GEORGES (Sept. 7th > 8th) | [email protected] | +33 6 62 08 83 43 NICHOLAS KAISER (Sept. 7th > 14th) | [email protected] | +33 6 43 44 48 99 MATHIEU DELAUNAY (Sept. 7th > 14th) | [email protected] | + 33 6 87 88 45 26 NAIMA ABED (Sept. 7th > 11th) | [email protected] | +44 7 731 611 461 OFFICE IN PARIS MEMENTO FILMS INTERNATIONAL 9 Cité Paradis – 75 010 Paris – France | Tel: +33 1 53 34 90 20 | [email protected] | [email protected] | www.memento-films.com | Follow us on Facebook IN SELECTION – NEW – Sweet Country Thelma Call Me By Your Name The Nothing Factory 3/4 (Three Quarters) by Warwick Thornton by Joachim Trier by Luca Guadagnino by Pedro Pinho by Ilian Metev Venice – In Competition Toronto – Special Presentations Toronto – Special Presentations Toronto – Wavelengths Toronto – Discovery Toronto – Platform Artscope UPCOMING The Apparition Claire Darling Everybody Knows The Wild Pear Tree Piercing by Xavier Giannoli by Julie Bertuccelli by Asghar Farhadi by Nuri Bilge Ceylan by Nicolas Pesce In Post Production In Post Production In Production In Post Production In Post Production COMPLETED Have A Nice Day Good Time by Liu Jian by Josh & Benny Safdie SWEET COUNTRY a film by Warwick Thornton VENICE IN COMPETITION PLATFORM TORONTO PLATFORM - CLOSING FILM Sweet Country A film by Warwick Thornton By the director of Samson & Delilah (Caméra D’Or – Cannes 2009) With Sam Neil (Thor, The Commuter, Jurassic Park), Bryan Brown (Gods Of Egypt, Australia, Cocktail) — Sam, a middle-aged Aboriginal man, works for a preacher in the outback of Australia’s Northern Territory.
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CALL ME by YOUR NAME LUCA GUADAGNINO <DIRECTOR> What
CALL ME BY YOUR NAME LUCA GUADAGNINO <DIRECTOR> What impact did André Aciman's book have on you when you first read it? I was shooting I Am Love when I was asked to help. They asked, 'Can you help us understand where this book is set and how we can make this movie in Italy?' So I read the book and I thought, 'Oh, good book, I like it'. What were the challenges of bringing it to the screen? The only challenge was that we had not much time and not much money and eventually when we started shooting we were meant to convey summer but it was basically raining every day. Those were the challenges – challenges of practicality rather than intellectual challenges. Did you change much of James Ivory's original script? The script started with me and James working together. James was supposed to direct the film but unfortunately he couldn't find the money to finance it. It was a bigger movie with a longer schedule and it wasn't possible to find the money in the marketplace. We worked so hard on the script and I was so sad when it didn't happen, but at the eleventh hour the producers came to me and said, 'Luca, this movie can happen if you do it and it can happen if you do it for, like, a fourth of the budget'. They asked me: 'Would you do it because we want to see this movie we've fought for ten years to make? Help us.' That's when I agreed to direct it.
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Call Me by Your Name De Luca Guadagnino Charlotte Selb
Document généré le 28 sept. 2021 19:41 24 images À la recherche d’un été perdu Call Me By Your Name de Luca Guadagnino Charlotte Selb 2017 – Bilan et découvertes Numéro 185, décembre 2017, janvier 2018 URI : https://id.erudit.org/iderudit/87221ac Aller au sommaire du numéro Éditeur(s) 24/30 I/S ISSN 0707-9389 (imprimé) 1923-5097 (numérique) Découvrir la revue Citer ce compte rendu Selb, C. (2017). Compte rendu de [À la recherche d’un été perdu / Call Me By Your Name de Luca Guadagnino]. 24 images, (185), 58–58. Tous droits réservés © 24/30 I/S, 2017 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ POINTS DE VUE Call Me By Your Name de Luca Guadagnino À LA RECHERCHE D’UN ÉTÉ PERDU par Charlotte Selb oproduction franco-italo-brésilo-améri- caine, Call Me By Your Name, ce chouchou C des festivals depuis sa première à Sundance et qu’on annonce déjà comme un favori de la saison des Oscars, est un objet transnational tant au niveau de ses collaborations créatives que de son contenu.
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