DOCSLIB.ORG

Film Lives Heresm

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Film Lives Heresm TITANUS Two Women BERTRAND BONELLO NEW YORK AFRICAN FILM FESTIVAL MARTÍN REJTMAN TITANUS OPEN ROADS: NEW ITALIAN CINEMA HUMAN RIGHTS WATCH FILM FESTIVAL NEW YORK ASIAN FILM FESTIVAL SPECIAL PROGRAMS NEW RELEASES EMBASSY / THE KOBAL COLLECTION / THE KOBAL EMBASSY MAY/JUN 2015SM FILM LIVES HERE Elinor Bunin Munroe Film Center 144 W 65th St | Walter Reade Theater 165 W 65th St | filmlinc.com | @filmlinc HERE STARTS PROGRAMMING SPOTLIGHT TABLE OF CONTENTS I PUT A SPELL ON YOU: THE FILMS OF BERTRAND BONELLO Festivals & Series 2 I Put a Spell on You: The Films of Bertrand Bonello (Through May 4) 2 PROVOKES PROVOKES Each new Bertrand Bonello film is an event in and of itself.Part of what makes Bonello’s work so thrilling is that, with some exceptions, world cinema has yet to catch up with his New York African Film Festival (May 6 – 12) 4 unique combination of artistic rigor and ability to distill emotion from the often extravagantly Sounds Like Music: The Films of Martín Rejtman (May 13 – 19) 7 stylish, almost baroque figures, places, and events that he portrays. He already occupies Titanus (May 22 – 31) 8 HERE FILM a singular place in French cinema, and we’re excited that our audiences now have the Open Roads: New Italian Cinema (June 4 – 11) 12 opportunity to discover a body of work that is unlike any other. –Dennis Lim, Director of Programming Human Rights Watch Film Festval (June 12 – 20) 16 New York Asian Film Festival (June 26 – July 8) 17 HERE FILM Special Programs 18 INSPIRES TITANUS Sound + Vision Live (May 28, June 25) 18 We have selected 23 cinematic gems from the Locarno Film Festival’s tribute to Titanus. Columbia University Film Festival (May 1 – 3) 18 The 110-year-old Italian production company nurtured the young auteur talents of Valeria Convergence (May 19, June 23) 19 Zurlini, Alberto Lattuada, Vittorio De Sica, and Federico Fellini, and explored genre films— BELONGS The Films of Lav Diaz (May 31) 19 Evil’s Commandment (I Vampiri), Italy’s first horror movie; Steno’s comic Totò Diabolicus; and Raffaello Matarazzo’s melodrama The White Angel. We are very excited that all the films in 54: The Director’s Cut (June 23) 19 the series will be projected on 35mm—a not-to-be-missed opportunity to experience the Print Screen (May 9 & 18) 20 golden age of Italian cinema. New Releases 21 HERE FILM –Isa Cucinotta, Programmer May – Saint Laurent, Two Shots Fired, Love at First Fight 22 June – The Wolfpack, The Princess of France 23 May Schedule 24 HERE FILM PRINT SCREEN June Schedule 26 Rather than focusing on adaptations, the idea is to take a less direct approach to MATTERS Exhibits 28 combining cinema and literature. Print Screen spotlights the range of films that influence Venue and Ticket Information 29 writers, and the fascinating ways that those cinematic influences take shape in their writing. The series also gives authors the opportunity to discuss their own work in a different context, GO GREEN! The bimonthly calendar is always available at filmlinc.com. Members and Patrons, please or through a different lens. consider joining us in our effort by opting out of the printed calendar.Visit filmlinc.com/GoGreen. –Rachael Rakes, Programmer at Large SURPRISES Stay connected with the Film Society app HERE FILM AVAILABLE FOR DOWNLOAD ON iOS AND ANDROID DEVICES PROGRAMMERS Director of Programming Dennis Lim • Director, NYFF Kent Jones THE FILM SOCIETY OF LINCOLN CENTER RECEIVES MAJOR SUPPORT FROM: HERE FILM Senior Programmer Florence Almozini • Programmer Isa Cucinotta OFFICIAL PREMIUM Print Traffic ManagerRufus de Rham • Programming Coordinator Dan Sullivan CONNECTS Programming Operations Assistant Tony Trius Senior Programming Advisor Marian Masone MEDIA HOSPITALITY SUPPORTERS Programmer at Large Jake Perlin • Programmer at Large Rachael Rakes FILM Programmer, Convergence Matt Bolish • Programmer, Sound + Vision Live Ben Seretan ® ENTERTAINS FILM Saint Laurent On War The Pornographer House of Pleasures / L’Apollonide: Souvenirs de la kaleidoscopic torrent of lavish excess—and a deliri- maison close ous twist on the modern biopic’s rules and limitations. Bertrand Bonello, France, 2011, 35mm, 122m An NYFF52 selection. Opens theatrically at the Film This gorgeous, opium-soaked fever dream of life in a Society on May 8 (see page 22). Parisian brothel at the turn of the century, filmed with a Wednesday, April 29, 7:00pm (Q&A with Bertrand mixture of casual detachment and needlepoint precision, Bonello Gaspard Ulliel, and actress Aymeline Valade) might be Bonello’s greatest work to date. Thursday, April 30, 6:45pm (Q&A with Bertrand Shorts Program Bonello) These shorts, most of them very seldom screened in Monday, May 4, 7:00pm the U.S., range from autobiographical reverie (Where Are You, Bertrand Bonello?) to emotionally charged Bertrand Bonello in person! Ingrid Caven: Music and Voice chamber drama (Cindy: The Doll Is Mine and Where the Bertrand Bonello, France, 2014, digital projection, 95m Boys Are). Bonello’s engrossing portrait of Ingrid Caven is a show- Cindy: The Doll Is Mine Bertrand Bonello, France, case for the work of a truly sui generis musician—a sort 2005, digital projection, 15m of cabaret singer for the 21st century—and a respectful Where the Boys Are Bertrand Bonello, France, 2010, tribute to one artist from another. 35mm, 21m Saturday, May 2, 4:30pm & 9:30pm Where Are You, Bertrand Bonello? / Où en êtes-vous, I PUT A SPELL ON YOU Bertrand Bonello? Bertrand Bonello, France, 2014, On War / De la guerre digital projection, 17m Bertrand Bonello, France, 2008, 35mm, 130m Sunday, May 3, 2:45pm & 6:45pm In Bonello’s nutty, exhilarating symphony about an artis- tic community in revolt, Mathieu Amalric plays a harried Something Organic / Quelque chose d’organique THE FILMS OF filmmaker who, after an on-set brush with death, retreats Bertrand Bonello, France, 1998, 35mm, 90m to a rural hedonist commune. Bonello’s rarely screened first feature, about a young Friday, May 1, 6:30pm (Q&A with Bertrand Bonello) married couple living in frigid Montreal, starts with the Saturday, May 2, 6:45pm basic materials of the domestic drama and rearranges them in invigorating, startling new configurations. The Pornographer / Le Pornographe Screening with The Adventures of James and David Bertrand Bonello, France/Canada, 2001, 35mm, 108m France, 2002, digital projection, 11m Bonello emerged as a major filmmaker with this ambi- Friday, May 1, 4:15pm & 9:30pm (Introduction by tious, tragic meditation on what would become two of his Bertrand Bonello at the 9:30pm screening) recurring obsessions: the use of sex as economic capital, and the post-’68 state of political radicalism in France. Tiresia Thursday, April 30, 4:30pm & 9:30pm (Introduction Bertrand Bonello, France, 2003, 35mm, 115m by Bertrand Bonello at the 9:30pm screening) This lyrical and disturbing modern update of the myth of Saturday, May 2, 2:15pm Tiresias, in which a Brazilian transsexual develops the gift APRIL 29 – MAY 4 of prophecy after surviving an act of violence, is perhaps Portrait of the Artist / Le dos rouge Bonello’s richest and most elusive film. Antoine Barraud, France, 2014, DCP, 127m Sunday, May 3, 4:15pm & 8:15pm One of the most daring, intelligent, and virtuosic figures in contemporary French cinema, Bertrand Bertrand Bonello stars as “Bertrand,” a filmmaker obsessed with monstrosity as the central theme of his Bonello approaches his movies like pieces of music, allowing competing tonal elements to collide and new work in this disquieting yet fascinating (and funny!) rearrange themselves in bracing configurations. The result is a body of work that consistently pushes mixture of body horror and character study. EXHIBIT: BERTRAND BONELLO, RÉSONANCES viewers into new and surprising territory. Monday, May 4, 4:15pm & 9:30pm APRIL 28 – MAY 30 FREE AND OPEN TO THE PUBLIC! Saint Laurent — SNEAK PREVIEW! Featuring selections of works from Bonello’s recent SPECIAL THANKS Bertrand Bonello, France, 2014, DCP, 150m exhibition at the Centre Pompidou in Paris. See the Bertrand Bonello; Benjamin Crotty; Judith Lou Lévy; The Cultural Services of the French Embassy, NY; Zeroing in on a dark, hedonistic, wildly creative decade “Exhibits” section on page 28 for more information. Sony Pictures Classics; EuropaCorp; Jeff Hill in the life of its subject, Bonello’s latest feature is a SERIESFESTIVALS & SERIES 2 3 I PUT A SPELL ON YOU: THE FILMS OF BERTRAND BONELLO The Prophecy MAY 6 – 12 The New York African Film Festival returns to the Film Society for its 22nd edition, offering a selection of over 25 titles from more than 15 countries that reflects on the ways African men and women have broken through borders with films and narratives that form part of the global imagination. Tickets on sale April 23. Early access for Film Society members (Film Lover and higher) begins April 21. PHOTO: FABRICE MONTEIRO Opening Night creative fight against all economic and political burdens border city whose people both bridge and personify Kurdistan, and beyond. Cold Harbour in Senegal’s buzzing capital city. U.S. Premiere the immense gaps between Europe and Africa. U.S. Monday, May 11, 6:30pm (Q&A with Tala Hadid Carey McKenzie, South Africa, 2014, DCP, 73m Screening with The Prophecy Premiere and Danny Glover) While investigating a smugglers’ turf war in Cape Town, Marcia Juzga, Senegal, 2015, digital projection, 20m Screening with Ziara. Beyond the Threshold / Ziara. township cop Sizwe discovers police corruption linked Saturday, May 9, 4:15pm (Q&A with Sandra Más allá del umbral National Diploma to the illegal abalone trade, and integrity demands that Krampelhuber) Sonia Gámez, Spain, 2013, digital projection, 54m Dieudo Hamadi, Democratic Republic of the Congo/ he take the law into his own hands.
Load more

Recommended publications
  • It 2.007 Vc Italian Films On
    1 UW-Madison Learning Support Services Van Hise Hall - Room 274 rev. May 3, 2019 SET CALL NUMBER: IT 2.007 VC ITALIAN FILMS ON VIDEO, (Various distributors, 1986-1989) TYPE OF PROGRAM: Italian culture and civilization; Films DESCRIPTION: A series of classic Italian films either produced in Italy, directed by Italian directors, or on Italian subjects. Most are subtitled in English. Individual times are given for each videocassette. VIDEOTAPES ARE FOR RESERVE USE IN THE MEDIA LIBRARY ONLY -- Instructors may check them out for up to 24 hours for previewing purposes or to show them in class. See the Media Catalog for film series in other languages. AUDIENCE: Students of Italian, Italian literature, Italian film FORMAT: VHS; NTSC; DVD CONTENTS CALL NUMBER Il 7 e l’8 IT2.007.151 Italy. 90 min. DVD, requires region free player. In Italian. Ficarra & Picone. 8 1/2 IT2.007.013 1963. Italian with English subtitles. 138 min. B/W. VHS or DVD.Directed by Frederico Fellini, with Marcello Mastroianni. Fellini's semi- autobiographical masterpiece. Portrayal of a film director during the course of making a film and finding himself trapped by his fears and insecurities. 1900 (Novocento) IT2.007.131 1977. Italy. DVD. In Italian w/English subtitles. 315 min. Directed by Bernardo Bertolucci. With Robert De niro, Gerard Depardieu, Burt Lancaster and Donald Sutherland. Epic about friendship and war in Italy. Accattone IT2.007.053 Italy. 1961. Italian with English subtitles. 100 min. B/W. VHS or DVD. Directed by Pier Paolo Pasolini. Pasolini's first feature film. In the slums of Rome, Accattone "The Sponger" lives off the earnings of a prostitute.
    [Show full text]
  • Nuovo Cinema Binario Paradiso Anno: 1989 Nazione: Italia/Francia Durata: 118’ Regia: Giuseppe Tornatore Venerdì 20 Marzo Mediterraneo
    Con il patrocinio e la collaborazione di venerdì Comune di Cotignola 6 marzo con il contributo di Amarcord Scovil - Club Fotoamatori - Cambio Binario Primola e la Compagnia Magazzino FS Anno: 1973 organizzano Nazione: Italia/Francia Durata: 118’ Regia: Federico Fellini Nuovo venerdì Cinema 13 marzo Nuovo cinema Binario Paradiso Anno: 1989 Nazione: Italia/Francia Durata: 118’ Regia: Giuseppe Tornatore venerdì 20 marzo Mediterraneo Anno: 1991 Nazione: Italia Durata: 86’ Regia: Gabriele Salvatores venerdì 27 marzo BB II NN AA RR II OO La vita è bella DADA OO SS CC AA RR Anno: 1997 GENNAIO - APRILE 2015 Nazione: Italia Durata: 120’ TEATRO BINARIO Regia: Roberto Benigni PRESSO STAZIONE FERROVIARIA DI COTIGNOLA LE PROIEZIONI AVRANNO INIZIO ALLE ORE 21, venerdì DOPO L’ULTIMO TRENO. INGRESSO CINEMA CON TESSERA 3 aprile PRIMOLA/CINEMA NUOVO BINARIO, SI PUÒ FARE LA SERA STESSA. La grande bellezza Pri ola Anno: 2013 www.primolacotignola.it [email protected] Vi ricordiamo che sono aperte le iscrizioni Nazione: Italia/Francia per il 2015 a Primola. Durata: 135’ Potete iscrivervi quando ci incontrate. Regia: Paolo Sorrentino Non dimenticatevi Binario da Oscar mercoledì Gli Oscar sono un’invenzione puramente americana; certo è il riconoscimento cinematografico più vetusto dal 1929 (Venezia 28 gennaio 1932, Cannes 1946), però era un confronto riservato a una La strada parte del cinema mondiale. Solo dal 1947 una categoria venne riservata “al miglior film straniero”, prima come premio speciale Anno: 1954 od onorario, poi dal 1957 diviene definitivo. Il nostro Paese è Nazione: Italia quello che ha vinto più volte (14) seguito dalla Francia (12); con Durata: 105’ questa rassegna vogliamo rinnovare la visione di dodici di questi Regia: Federico Fellini film, non solo a chi non è riuscito a vederne alcuni, ma anche a chi li ha contemplati solo attraverso uno schermo televisivo, perdendone la grandiosità e il respiro.
    [Show full text]
  • Il Mafioso (1962) Directed by Alberto Lattuada (1914-2005)
    Il Mafioso (1962) Directed by Alberto Lattuada (1914-2005) Cinematographer: Armando Annuzzi Editor: Nino Baragli Screenplay: Rafael Azcona, Bruno Caruso, Marco Ferreri, Agenore Incrocci, Furio Scarpelli (Age and Scarpelli) Production: Compagnia Cinematografica Antonio Cervi Dino de Laurentiis Cinematografica Cast: Alberto Sordi: Nino Badalamenti Norma Bengell: Marta Badalamenti Ugo Attanasio: Don Vincenzo Armando Tine: Dr. Znchi Carmelo Oliviero: Don Liborio Brief Filmography: Additional production information at IMDb.com: http://www.imdb.com/name/nm0490444/ Questions for Class Discussion: Il Mafioso While viewing the film during in-class screening and outside of class, please take notes on the following questions/prompts. You may not be able to answer all the questions/prompts in one sitting, but try to jot down notes while viewing or directly after viewing. 1. How does the film establish the character (personality) of Antonio (Nino) Badalamenti? What kind of person is he? How does his character change throughout the film? What do you believe he learns about himself? 2. How does the film represent northern Italy (Milan)? Describe how the north is represented in the film? 1 3. How does the film represent Sicily? Describe Nino’s family and his town of Calamo. How does the film represent the clash between the old and new countries? 4. In Sicily, what are the men (Nino’s friends) doing on the beach? What do they discuss? 5. Describe Nino’s experience in the United States? How does he interact with the Italian Americans? What is he forced to do in the name of shared origins? 2 .
    [Show full text]
  • Feature Films
    NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 ..........................
    [Show full text]
  • The Cutting Edge of French Cinema
    BACKWASH: THE CUTTING EDGE OF FRENCH CINEMA J’IRAI AU PARADIS CAR L’ENFER EST ICI , Xavier Durringer ( France, 1997 ) MA 6T VA CRACK-ER , Jean-Francois Richet ( France, 1997 ) LE PETIT VOLEUR , Érick Zonca ( France, 1998 ) L’HUMANITÉ , Bruno Dumont ( France, 1999 ) POLA X , Leos Carax ( France, 1999 ) RESSOURCES HUMAINES (Human Resources), Laurent Cantet ( France, 1999 ) À MA SOEUR! , Catherine Breillat ( France-Italy, 2000 ) PARIA , Nicolas Klotz ( France, 2000 ) SAINT-CYR , Patricia Mazuy ( France-Belgium, 2000 ) SELON MATTHIEU , Xavier Beauvois ( France, 2000 ) SOUS LE SABLE , François Ozon ( France-Belgium-Italy-Japan, 2000 ) ÊTRE ET AVOIR , Nicolas Philibert ( France, 2001 ) IRRÉVERSIBLE (Irreversible), Gaspar Noé ( France, 2001 ) LA CHATTE À DEUX TÊTES , Jacques Nolot ( France, 2001 ) LA VIE NOUVELLE , Philippe Grandrieux ( France, 2001 ) LE PACTE DES LOUPS , Christophe Gans ( France, 2001 ) LE STADE DE WIMBLEDON , Mathieu Amalric ( France, 2001 ) ROBERTO SUCCO , Cédric Kahn ( France-Switzerland, 2001 ) TROUBLE EVERY DAY , Claire Denis ( France-Japan, 2001 ) DANS MA PEAU , Marina De Van ( France, 2002 ) UN HOMME, UN VRAI , Jean-Marie Larrieu, Arnaud Larrieu ( France, 2002 ) CLEAN , Olivier Assayas ( France-UK-Canada, 2003 ) INNOCENCE , Lucile Hadzihalilovic ( France-UK-Belgium, 2003 ) L’ESQUIVE , Abdellatif Kechiche ( France, 2003 ) LE CONVOYEUR , Nicolas Boukhrief ( France, 2003 ) LES CORPS IMPATIENTS , Xavier Giannoli ( France, 2003 ) ROIS ET REINE , Arnaud Desplechin ( France-Belgium, 2003 ) TIRESIA , Bertrand Bonello ( France, 2003 ) DE BATTRE MON COEUR S’EST ARRÊTÉ (The Beat That My Heart Skipped), Jacques Audiard ( France, 2004 ) LES REVENANTS , Robin Campillo ( France, 2004 ) LES ANGES EXTERMINATEURS , Jean-Claude Brisseau ( France, 2005 ) VOICI VENU LE TEMPS , Alain Guiraudie ( France, 2005 ) À L’INTERIEUR , Alexandre Bustillo, Julien Maury ( France, 2006 ) AVIDA , Benoît Delépine, Gustave Kervern ( France, 2006 ) LES CHANSONS D’AMOUR , Christophe Honoré ( France, 2006 ) 24 MESURES , Jalil Lespert ( France-Canada, 2007 ) L’HISTOIRE DE RICHARD O.
    [Show full text]
  • The Myth of the Good Italian in the Italian Cinema
    ISSN 2039-2117 (online) Mediterranean Journal of Social Sciences Vol 5 No 16 ISSN 2039-9340 (print) MCSER Publishing, Rome-Italy July 2014 The Myth of the Good Italian in the Italian Cinema Sanja Bogojević Faculty of Philosophy, University of Montenegro Doi:10.5901/mjss.2014.v5n16p675 Abstract In this paper we analyze the phenomenon called the “myth of the good Italian” in the Italian cinema, especially in the first three decades of after-war period. Thanks to the recent success of films such as Tarantino’s Inglorious Basterds or Academy Award- winning Benigni’s film La vita è bella and Spielberg’s Schindler’s List it is commonly believed that the Holocaust is a very frequent and popular theme. Nevertheless, this statement is only partly true, especially when it comes to Italian cinema. Soon after the atrocities of the WWII Italian cinema became one of the most prominent and influential thanks to its national film movement, neorealism, characterized by stories set amongst the poor and famished postwar Italy, celebrating the fight for freedom under the banners of Resistance and representing a nation opposed to the Fascist and Nazi regime. Interestingly, these films, in spite of their very important social engagement, didn’t even mention the Holocaust or its victims and it wasn’t until the 1960’s that Italian cinema focused on representing and telling this horrific stories. Nevertheless, these films represented Italians as innocent and incapable of committing cruel acts. The responsibility is usually transferred to the Germans as typically cold and sadistic, absolving Italians of their individual and national guilt.
    [Show full text]
  • Propaganda, Cinema E Politica 1945-1975
    Archivio audiovisivo del movimento operaio e democratico Annali 11 2008 Propaganda , cinema e politica 1945-1975 a cura di Ermanno Taviani Archivio audiovisivo del movimento operaio e democratico Annali 11 2008 Propaganda, cinema e politica 1945-1975 a cura di Ermanno Taviani Il volume è stato realizzato con il contributo della Direzione Generale per il Cinema - Ministero per i Beni e le Attività Culturali Edizione a cura Via Ostiense, 106 Roma 00154 Tel. (39) 06/57.305.447 - 06/57.428.72 - 06/57.289.551 Fax. (39) 06/57.580.51 e-mail: [email protected] – www.aamod.it Affiliato F.I.A.F. (Fédération Internationale des Archives du Film) Indice Introduzione PARTE PRIMA Il cinema di propaganda: il caso del Pci Ermanno Taviani Il 18 aprile 1948 e il cinema Mino Argentieri Fra fiction e realtà. Radici e continuità della propaganda politica in Italia Edoardo Novelli Il mito di Palmiro Togliatti e di Maurice Thorez nella propaganda politica del comunismo italiano e francese Sante Cruciani Gli anni della censura: il caso Lizzani Antonio Medici PARTE SECONDA La propaganda dei Comitati civici e le elezioni del 1948 Intervista a Turi Vasile di Tatti Sanguineti (rielaborazione di Ermanno Taviani) Da Togliatti è tornato a Il sole sorge ancora Intervista a Carlo Lizzani di Tatti Sanguineti ed Ermanno Taviani Cinema, propaganda e televisione nel Partito comunista italiano Intervista a Mino Argentieri di Tatti Sanguineti ed Ermanno Taviani Cinema, manifesti e fumetti nelle campagne elettorali tra fascismo e dopoguerra Intervista a Ernesto G. Laura di Tatti Sanguineti ed Ermanno Taviani Cinema, televisione e propaganda nella Democrazia cristiana Intervista a Bartolo Ciccardini di Tatti Sanguineti ed Ermanno Taviani PARTE TERZA Guida per le proiezioni cinematografiche popolari Introduzione E’ dal momento della sua fondazione che la Fondazione Archivio audiovisivo del movimento operaio e democratico ha lavorato sul tema della propaganda politica, con particolare attenzione a quella cinematografica.
    [Show full text]
  • All-Celluloid Homage to a Diva of the Italian Cinema
    ALL-CELLULOID HOMAGE TO A DIVA OF THE ITALIAN CINEMA Sept. 24, 2016 / Castro Theatre / San Francisco / CinemaItaliaSF.com ROMA CITTÀ APERTA (ROME OPEN CITY) Sat. September 24, 2016 1:00 PM 35mm Film Projection (100 mins. 1945. BW. Italy. In Italian, German, and Latin with English subtitles) Winner of the 1946 Festival de Cannes Grand Prize, Rome Open City was Roberto Rossel- lini’s revelation – a harrowing drama about the Nazi occupation of Rome and the brave few who struggled against it. Told with melodramatic flair and starring Aldo Fabrizi as a priest helping the partisan cause and Anna Magnani in her breakthrough role as Pina, the fiancée of a resistance member, Rome Open City is a shockingly authentic experi- ence, conceived and directed amid the ruin of World War II, with immediacy in every frame. Marking a watershed moment in Italian cinema, this galvanic work garnered awards around the globe and left the beginnings of a new film movement in its wake. Directed by Roberto Rossellini. Written by Sergio Amidei and Federico Fellini. Photo- graphed by Ubaldo Arata. Starring Anna Magnani and Aldo Fabrizi. Print Source: Istituto Luce-Cinecittá S.r.L. BELLISSIMA Sat. September 24, 2016 3:00 PM 35mm Film Projection (115 mins. 1951. BW. Italy. In Italian with English subtitles) Bellissima centers on a working-class mother in Rome, Maddalena (Anna Magnani), who drags her daughter (Tina Apicella) to Cinecittà to attend an audition for a new film by Alessandro Blasetti. Maddalena is a stage mother who loves movies and whose efforts to promote her daughter grow increasingly frenzied.
    [Show full text]
  • Educational Newsletter
    Educational Newsletter http://campaign.r20.constantcontact.com/render?llr=zg5n4wcab&v=001K... The content in this preview is based on the last saved version of your email - any changes made to your email that have not been saved will not be shown in this preview. February 2012 Educational Newsletter French Consulate in Boston Our Academic News In This Issue Formation pour professeurs de français Offre de formation "Réaliser une "Voyages en Francophonie" production audiovisuelle" Our 2011 Contest! Nous avons la possibilité de faire SPCD Grant intervenir à Boston un formateur du The Green Connection Centre de liaison de l'enseignement et des médias d'information (CLEMI) sur le CampusArt thème suivant : "Réaliser une production Hewmingway Grant Program audiovisuelle en classe de français langue étrangère" (détails ICI ). Elle La FEMIS pourrait accueillir une trentaine de Merrimack College Language professeurs de middle schools et high schools. La formation se Programs déroulerait sur deux fois 3 heures en "afterschool" les 27 et 28 "Voyages en Francophonie" février, ou le 28 février sur 6 heures en journée (il est possible de n'assister qu'à la première session, mais en faisant l'impasse Printemps des Poètes sur la partie pratique). Tous les frais sont pris en charge par les "A Preview of 2012 in France" services culturels de l'ambassade de France. Si cette formation Clermont-Ferrand International Short intéresse un nombre suffisant d'entre vous, nous serions Film Festival heureux de l'organiser. Dans ce cas, merci de le faire savoir rapidement à Guillaume Prigent compte tenu des délais très Providence French Film Festival courts.
    [Show full text]
  • ALDO SIGNORETTI Hair and Wig Designer Fluent in Italian and English
    ALDO SIGNORETTI Hair and Wig Designer Fluent in Italian and English FILM AND TELEVISION THE YOUNG POPE Wig/Hair Designer Wildside, Indigo Film Director: Paolo Sorrentino ZOOLANDER 2 Department Head of Hair / Hair Stylist & Wig Designer Paramount Director: Ben Stiller CAESAR Department Head of Hair and Make-Up Kallope Films Director: Tiago Mesquita Cast: Sean Bean, Isaac Hempstead Wright, Mackenzie Crook THE EARLY YEARS Wig/Hair Designer Indigo Film Director: Paolo Sorrentino Cast: Rachel Weisz, Michael Cane, Jane Fonda HERCULES: THE THRACIAN WARS Wig/Hair Designer Film 44, MGM, Paramount, Radical Pictures Director: Brett Ratner Cast: Dwayne Johnson, Ian Mcshane, John Hurt LA GRANDE BELEZZA (THE GREAT BEAUTY) Wig/Hair Designer Indigo Film, Medusa Film, Babe Film, Pathé Director: Paolo Sorrentino Cast: Toni Servillo, Carlo Verdone, Sabrina Ferilli David di Donatello Award - Won - Best Hair Design/Styling BORGIA (SERIES 1,2 & 3) Co-Designer: Wig/Hair ETIC Films Directors: Philippe Haim, Oliver Hirschbiegel CONAN THE BARBARIAN Wig/Hair Designer Lionsgate Director: Marcus Nispel WE BELIEVED Hair Designer Palomar Director: Mario Martone David di Donatello Award - Won - Best Hair Design/Styling VEDA – ATATÜRK Wig/Hair Designer Kamera Film Director: Zülfü Livaneli IO, DON GIOVANNI Wig/Hair Designer Edelweiss Cinematografica, Lucky Red Director: Carlos Saura IL DIVO Wig/Hair Designer Indigo Film, Lucky Red Director: Paulo Sorrentino Academy Award - Nominee - Best Achievement In Make-Up David di Donatello Award - Best Hair Design/Styling 2061 Wig/Hair
    [Show full text]
  • October 5, 2010 (XXI:6) Federico Fellini, 8½ (1963, 138 Min)
    October 5, 2010 (XXI:6) Federico Fellini, 8½ (1963, 138 min) Directed by Federico Fellini Story by Federico Fellini & Ennio Flaiano Screenplay by Ennio Flaiano, Tullio Pinelli, Federico Fellini & Brunello Rondi Produced by Angelo Rizzoli Original Music by Nino Rota Cinematography by Gianni Di Venanzo Film Editing by Leo Cattozzo Production Design by Piero Gherardi Art Direction by Piero Gherardi Costume Design by Piero Gherardi and Leonor Fini Third assistant director…Lina Wertmüller Academy Awards for Best Foreign Picture, Costume Design Marcello Mastroianni...Guido Anselmi Claudia Cardinale...Claudia Anouk Aimée...Luisa Anselmi Sandra Milo...Carla Hazel Rogers...La negretta Rossella Falk...Rossella Gilda Dahlberg...La moglie del giornalista americano Barbara Steele...Gloria Morin Mario Tarchetti...L'ufficio di stampa di Claudia Madeleine Lebeau...Madeleine, l'attrice francese Mary Indovino...La telepata Caterina Boratto...La signora misteriosa Frazier Rippy...Il segretario laico Eddra Gale...La Saraghina Francesco Rigamonti...Un'amico di Luisa Guido Alberti...Pace, il produttore Giulio Paradisi...Un'amico Mario Conocchia...Conocchia, il direttore di produzione Marco Gemini...Guido da ragazzo Bruno Agostini...Bruno - il secundo segretario di produzione Giuditta Rissone...La madre di Guido Cesarino Miceli Picardi...Cesarino, l'ispettore di produzione Annibale Ninchi...Il padre di Guido Jean Rougeul...Carini, il critico cinematografico Nino Rota...Bit Part Mario Pisu...Mario Mezzabotta Yvonne Casadei...Jacqueline Bonbon FEDERICO FELLINI
    [Show full text]
  • QUEER FILM Anniversary FESTIVAL #BQFF2019
    THE BANGALORE 10th QUEER FILM Anniversary FESTIVAL #BQFF2019 I'm crying cuz I love you We’ve turned ten! And we didn’t make it so far on our own. One of the several perks of being a volunteer-run, community- funded event has been that friends from the community and of the community have come in, rolled up their sleeves, hitched up their hemlines and taken charge over the many years. From the first public film festival called ‘Bangalored’, held with our signature spread of mattresses at the Attakkalari Studios and helmed by the good folks of Pedestrian Pictures, Swabhava’s Vinay Chandran (who remains the longest- running festival director), Sangama, and the funding prowess of Bangalore’s former party starter Abhishek Agarwal, to the smaller festivals organised at a screening room in the Sona Towers, to its present avatar as the Bangalore Queer Film Festival – this festival has become its own beauty, its own beast. Over this decade-long journey, we’ve been held and nurtured by support groups like Good As You, We’re Here And Queer and All Sorts of Queers; individuals like Karthik Vaidyanathan, Nanju Reddy and Siddharth Narrain (who were part of the organising team in the early editions) and organisations like the Alliance Française de Bangalore and Goethe Institut/Max Mueller Bhavan. A question that everyone involved with the festival asks at its end: How did we make this happen again? And while we’ve come up with lots of lies to drive out these doubts, in truth: we have no real idea.
    [Show full text]