DOCSLIB.ORG

6-11 Set 10ª Edição Cinema São Jorge Teatro Tivoli Bbva Issn 2183-3443 Issn

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
6-11 Set 10ª Edição Cinema São Jorge Teatro Tivoli Bbva Issn 2183-3443 Issn PATROCINADOR PRINCIPAL 6-11 SET 10ª EDIÇÃO CINEMA SÃO JORGE TEATRO TIVOLI BBVA ISSN 2183-3443 PROGRAMA PROGRAMME 2 ÍNDICE CONTENTS 01. INTRODUÇÃO p.5 Personal Shopper 09. PRÉMIO MELHOR CURTA INTRODUCTION Pet PORTUGUESA / MÉLIÈS D’ARGENT p.70 Psycho Raman BEST PORTUGUESE 02. PRÉMIO MELHOR LONGA The Purge: Election Year SHORT FILM AWARD / MÉLIÈS EUROPEIA / MÉLIÈS Sadako vs Kayako D’ARGENT D’ARGENT p.7 Sam Was Here BEST EUROPEAN FEATURE Scream Week FILM AWARD / MÉLIÈS 10. CURTAS INTERNACIONAIS p.75 D’ARGENT Southbound INTERNATIONAL SHORT Baskin The Transfiguration FILMS K-Shop Under the Shadow Like a Cast Shadow The Wailing 11. YORN MICROCURTAS p.78 The Noonday Witch The Wave Psychonauts, the Forgotten We Are the Flesh 12. LOBO MAU p.79 Children BIG BAD WOLF Shelley Os Caça-Monstros Villmark Asylum 04. DOC TERROR p.55 A Solução da Manteiga DOC HORROR de Amendoim De Palma Wait Till Helen Comes 03. SERVIÇO DE QUARTO p.17 Tickled ROOM SERVICE Sustos Curtos em 31 Português Another Evil 05. RUGGERO DEODATO p.58 Cannibal Holocaust Assassination Classroom: 13. MOTELX LAB p.86 The Graduation The House on the Edge of the Park Before I Wake 14. EVENTOS p.92 Beyond the Walls EVENTS The Black Death 06. WALERIAN BOROWCZYK: MAKE ME SCREAM AGAIN p.61 Creepy The Beast 15. WARM-UP p.95 Demon The Strange Case of Dr. The Devil’s Candy Jekyll and Miss Osbourne 16. INFORMAÇÕES p.97 Don’t Breathe INFORMATION Don’t Kill It 07. SESSÕES ESPECIAIS p.64 February SPECIAL SCREENINGS 17. FICHA TÉCNICA p.99 Hime-Anole Critters 2 CREDITS Holidays In a Glass Cage The Inerasable 18. AGRADECIMENTOS p.100 The Master Cleanse ACKNOWLEDGEMENTS 08. QUARTO PERDIDO p.67 Miruthan LOST ROOM My Father Die O Segredo das Pedras Vivas 19. APOIOS p.101 The Neighbor Tiaga / A Princesinha das Rosas SPONSORS 3 THE EUROPEAN FANTASTIC FILM FESTIVALS FEDERATION A UNIQUE NETWORK OF 22 FESTIVALS STRETCHING ACROSS 11 EUROPEAN COUNTRIES AS WELL AS ASIA AND NORTH AND SOUTH AMERICA ENHANCES GLOBAL VISIBILITY FOR FILMMAKERS AND DISTRIBUTORS R EWARDS EUROPEAN CREATIVITY ANNUALLY THROUGH ITS PRESTIGIOUS MÉLIÈS D’OR AWARDS FOR FANTASTIC FEATURE AND SHORT FILMS 19TH MÉLIÈS D’OR WINNERS 2015 AWARDED AT THE 15TH BEST EUROPEAN OCTOBER FANTASTIC FILM OCTOBER GOODNIGHT MOMMY DIRECTED BY VERONIKA FRANZ & SEVERINE FIALA AUSTRIA BEST EUROPEAN FANTASTIC SHORT OCTOBER NOVEMBER FILM SUPERVENUS DIRECTED BY FRÉDÉRIC DOAZAN FRANCE JULY APRIL SEPTEMBER MARCH/APRIL FIND OUT MORE @ WWW.MELIES.ORG EuropeanFantasticFilmFestivalsFederation @Meliesorg [email protected] AFFILIATED MEMBERS ADHERENT MEMBERS SUPPORTING MEMBERS 4 INTRODUÇÃO 01 INTRODUCTION Caros Hóspedes, Dear Guests, Ninguém teria certamente acreditado, em 2003, quan- No one would’ve guessed back in 2003, when CTLX do o CTLX iniciou sessões de cinema de terror no anti- launched casual horror film screenings at the old go Cinema King, que se estaria a celebrar, em 2016, 10 Cinema King, that in 2016 we would be celebrating 10 anos de um festival de cinema. Uma década de um festi- years of a horror festival. A whole decade of a festival val que sempre acreditou que deveria existir um espaço that persistently believed there should be a space dedicado apenas à cinematografia de terror e, sobretu- exclusively dedicated to horror films, and above all, a do, onde o cinema de terror nacional pudesse ser visto, space where national horror cinema could be seen, premiado e divulgado. rewarded, and publicized. Este ano revisitamos a tradição portuguesa e trazemos, This year we will revisit Portuguese tradition, bringing em sinal de aviso, uma figura muito esperada e sempre the long-awaited King Sebastian, covered under a veil envolta num manto de mistério. Preparem-se, pois El of mistery, who will return from the dead, bringing with Rei D. Sebastião regressa dos mortos e traz consigo o him our Fifth Empire, the Kingdom of Spirits. Quinto Império, o Reino dos Espíritos... To celebrate this first decade, we have a commemorative Para fecharmos o percurso desta primeira década, tere- 10 years of MOTELX book with interviews with our mos o livro comemorativo dos 10 anos de MOTELX masters of horror and other guests brought to Lisbon com entrevistas aos mestres do terror e a outros con- throughout the years, as well as memories that made vidados que passaram por Lisboa, e ainda algumas each edition an unforgettable experience. memórias que tornaram inesquecível cada ano. In this 10th year, the Festival accepts a new challenge Na 10.ª edição o Festival aceita um novo desafio ao pro- by presenting a competition for European feature mover uma competição de longas europeias. Um foco films. A spotlight that will increase the Festival’s que aumentará o prestígio internacional do Festival e international status and serve as extra motivation for servirá de estímulo extra para os muitos realizadores the many national directors that, since 2009, have nacionais que, desde 2009, concorrem pela melhor competed for the best Portuguese horror short film. In curta de terror portuguesa. No júri encontraremos o the jury we will find this year’s guest of honour, Mick primeiro convidado de honra do MOTELX, Mick Gar- Garris, and another household name, Italian director ris e outro grande nome, o italiano Ruggero Deodato. Ruggero Deodato. Para além da nossa “casa” habitual, o magnífico Cine- Besides our usual “home”, the incredible Cinema São ma São Jorge, voltaremos a outro cinema histórico lis- Jorge, we will once again occupy another historic boeta, o Teatro Tivoli BBVA. Por estas salas passará venue, the Teatro Tivoli BBVA. In these theatres we will uma programação rica e variada, com o melhor do ter- present a rich and varied programme, with the best of ror internacional, a antestreia mundial do novo filme world horror cinema, a world premiere by Portuguese do mestre do fantástico nacional António de Macedo, director António de Macedo, retrospectives and works retrospectivas e obras de realizadores nacionais, uma by Portuguese directors. There will be masterclasses, sessão dobrada ao vivo na secção infanto-juvenil Lobo workshops, a live dubbing during the children’s section Mau , e ainda mais masterclasses, workshops e debates Big Bad Wolf, and debates in the new MOTELX LAB, no novo MOTELX LAB, um espaço de celebração da a space of celebration of creativity that aims to inspire criatividade que pretende inspirar todos os participan- its participants to explore the richness of the horror tes a explorar a riqueza do universo do cinema de terror. cinema universe. Bem-vindos! Welcome! 5 PRÉMIO MELHOR LONGA 02 EUROPEIA / MÉLIÈS D’ARGENT BEST EUROPEAN FEATURE FILM AWARD / MÉLIÈS D’ARGENT Uma das grandes novidades desta 10.ª edição One of the highlights of this 10th edition is the é a inauguração da primeira secção competi- announcement of our first feature film com- tiva de longas-metragens. Trata-se do Prémio petition: The MOTELX Award - Best Euro- MOTELX para Melhor Longa-Metragem de pean Horror Feature Film / Méliès d’Argent. Terror Europeia / Méliès D’Argent. Assim, para Along with the Best Portuguese Horror Short além da melhor curta-metragem portuguesa de Film, there will also be a candidate chosen at terror, haverá uma longa candidata por parte do MOTELX at the annual European Fantas- MOTELX na Gala anual da Federação Europeia tic Film Festivals Federation gala, thus con- de Festivais de Cinema Fantástico, contribuin- tributing for the promotion and awareness of do deste modo para a promoção e divulgação genre film made in the old continent. Previous do cinema fantástico no velho continente. Méliès d’Or winners include Álex de la Igle- Entre os vencedores passados do Méliès d’Or sia’s “Day of the Beast”, Michael Winterbot- contam-se “Day of the Beast” de Álex de la tom’s “Code 46”, Pascal Laugier’s “Martyrs”, Iglesia, “Code 46” de Michael Winterbottom, and Thomas Alfredson’s “Let the Right One “Martyrs” de Pascal Laugier ou “Let the Right In”. We hope to also see in the near future a One In” de Thomas Alfredson. Esperamos Portuguese feature among those competing igualmente ver num futuro próximo uma longa for the prize. portuguesa a disputar este prémio. The selection for the Award’s first year is quite A selecção deste primeiro ano de Prémio é bas- strong and varied. It includes six countries tante forte e variada. Contempla seis nações spread evenly throughout Europe. We’ll ex- bem espalhadas pelo velho continente. Assim, perience the spooky “Shelley” from Denmark, teremos o fantasmagórico “Shelley” da Dina- Czech witchcraft in “The Noonday Witch”, marca, a bruxaria checa com “The Noonday Turkish hell in “Baskin”, a cold slasher from Witch”, o inferno turco de “Baskin”, um slasher Norway in “Villmark Asylum”, an extreme- gélido da Noruega, “Villmark Asylum”, uma ly dark animation in the Spanish language animação negra como breu no espanhol “Psychonauts, The Forgotten Children”, Ger- “Psychonauts, The Forgotten Children”, o ter- man psychological horror in “Like a Cast Shad- ror psicológico do germânico “Like a Cast ow”, and the British “K-Shop”, where social Shadow”, e o britânico “K-Shop”, onde o comen- commentary goes hand in hand with litters tário social coabita com litros de sangue. Esta of blood. This list creates a showcase where lista compõe uma montra onde o espectador the spectator can discover how countries such pode descobrir como é que cinematografias as ours, whose film industry is usually hor- pouco dadas ao terror, tal como a nossa, resol- ror-free, fill that gap and stand out in the pano- vem essa lacuna e conseguem destacar-se no rama of world horror. panorama do terror mundial. 7 JÚRI JURY Ruggero Deodato é um realizador, argu- Ruggero Deodato is an Italian film director, mentista e actor italiano.
Load more

Recommended publications
  • Just How Nasty Were the Video Nasties? Identifying Contributors of the Video Nasty Moral Panic
    Stephen Gerard Doheny Just how nasty were the video nasties? Identifying contributors of the video nasty moral panic in the 1980s DIPLOMA THESIS submitted in fulfilment of the requirements for the degree of Magister der Philosophie Programme: Teacher Training Programme Subject: English Subject: Geography and Economics Alpen-Adria-Universität Klagenfurt Evaluator Univ.-Prof. Dr. Jörg Helbig, M.A. Alpen-Adria-Universität Klagenfurt Institut für Anglistik und Amerikanistik Klagenfurt, May 2019 i Affidavit I hereby declare in lieu of an oath that - the submitted academic paper is entirely my own work and that no auxiliary materials have been used other than those indicated, - I have fully disclosed all assistance received from third parties during the process of writing the thesis, including any significant advice from supervisors, - any contents taken from the works of third parties or my own works that have been included either literally or in spirit have been appropriately marked and the respective source of the information has been clearly identified with precise bibliographical references (e.g. in footnotes), - to date, I have not submitted this paper to an examining authority either in Austria or abroad and that - when passing on copies of the academic thesis (e.g. in bound, printed or digital form), I will ensure that each copy is fully consistent with the submitted digital version. I understand that the digital version of the academic thesis submitted will be used for the purpose of conducting a plagiarism assessment. I am aware that a declaration contrary to the facts will have legal consequences. Stephen G. Doheny “m.p.” Köttmannsdorf: 1st May 2019 Dedication I I would like to dedicate this work to my wife and children, for their support and understanding over the last six years.
    [Show full text]
  • Resavoring Cannibal Holocaust As a Mockumentary
    hobbs Back to Issue 7 "Eat it alive and swallow it whole!": Resavoring Cannibal Holocaust as a Mockumentary by Carolina Gabriela Jauregui ©2004 "The worst returns to laughter" Shakespeare, King Lear We all have an appetite for seeing, an appétit de l'oeuil as Lacan explains it: it is through our eyes that we ingest the Other, the world.1 And in this sense, what better way to introduce a film on anthropophagy, Ruggero Deodato's 1979 film, Cannibal Holocaust, than through the different ways it has been seen.2 It seems mankind has forever been obsessed with the need to understand the world through the eyes, with the need for visual evidence. From Thomas the Apostle, to Othello's "ocular proof," to our television "reality shows," as the saying goes: "Seeing is believing." We have redefined ourselves as Homo Videns: breathers, consumers, dependants, and creators of images. Truth, in our society, now hinges on the visual; it is mediated by images. Thus it is from the necessity for ocular proof that Cinéma Vérité, Direct Cinema, documentary filmmaking and the mockumentary or mock-documentary genre stem. It is within this tradition that the Italian production Cannibal Holocaust inserts itself, as a hybrid trans-genre film. To better understand this film, I will not only look at it as a traditional horror film, but also as a contemporary mockumentary satire that presents itself as "reality" and highlights the spectator’s eye/I’s primal appetite. In the manner of Peter Watkins' film Culloden, Deodato's film is intended to confuse the audience's
    [Show full text]
  • Australian Found-Footage Horror Film
    Finders Keepers AUSTRALIAN FOUND-FOOTAGE HORROR FILM Alexandra Heller-Nicholas looks at how two Australian films,The Tunnel and Lake Mungo, fit into the hugely popular found-footage horror trend, and what they can reveal about this often critically disregarded subgenre. 66 • Metro Magazine 176 | © ATOM FACING PAGE, FROM TOP: MATHEW (MARTIN SHARPE) USES TECHNOLOGY TO TRY TO CONTROL HIS DEAD SISTER IN LAKE MUNGO; STEVE (STEVE MILLER) EXPLORES WHAT LURKS BELOW IN THE TUNNEL THIS PAGE, TOP ROW: THE TUNNEL BOTTOM ROW AND INSET BELOW: LAKE MUNGO When horror academic Mark Jancovich Ghostwatch. Looking beyond film, television dismissed The Blair Witch Project (Daniel and radio, there are numerous significant Myrick & Eduardo Sánchez, 1999) as ‘a media hoaxes such as the New York Sun’s one-off gimmick rather than the start of a ‘Great Moon Hoax’ in 1835 that suggest a new cycle of horror production’ in 2002, few broader history behind the current found- suspected how premature this prediction footage horror phenomenon. would be.1 The extraordinarily successful Paranormal Activity franchise (2007–2012) While the diversity of this subgenre’s history left Blair Witch in its dust, and found footage has been simplified, the broader areas from – or faux found footage – has become the which found-footage horror has drawn its horror format du jour. Horror fans and critics inspiration have also been largely under- now discuss found footage as an overused stated. Documentary is the most obvious, cliché that is past its use-by date, and even but found-footage horror’s relationship to horror directors themselves go to consid- amateur filmmaking traditions is arguably erable lengths to clarify how their found- to a number of screen trends and events, just as important.
    [Show full text]
  • Current Affairs December 2013
    Current Affairs December 2013 RATHNAKUMAR R. Email address: [email protected] © 2013 www.gktoday.in Price: Rs. 50/- Published by: GKToday (www.gktoday.in ) Disclaimer While all care has been taken in the preparation of this material, no responsibility is accepted by the author(s) for any errors, omissions or inaccuracies. The material provided in this resource has been prepared to provide general information only. It is not intended to be relied upon or be a substitute for legal or other professional advice. No responsibility can be accepted by the author for any known or unknown consequences that may result from reliance on any information provided in this publication Current Affairs Compendium December 2013 Contents ......................................... 6 ........................................................... 7 No capital gains tax or stamp duty on foreign banks converting to WoS - - .................. 7 Medium enterprises to be included under priority sector: RBI - .. 8 Cyber Coalition 2013: NATO’s largest ever cyber security exercise held in Estonia .......................................................................................................... 8 Direct cash transfer better option than other anti poverty schemes: Planning Commission ........................................................................................ 9 P.V. Sindhu clinches Macau Grand Prix .................................................. 9 Suwannapura bags India Open golf tournament ..........................................................................................
    [Show full text]
  • Spaghetti Cinema University of Bedfordshire, 9-10 May 2014
    Spaghetti Cinema University of Bedfordshire, 9-10 May 2014 What is Spaghetti Cinema and Why Does it Work? Devised by Dr. Austin Fisher and first held in 2013, Spaghetti Cinema is an academic conference and film festival that celebrates the history and contemporary reach of Italian genre cinema. The first event focused on Spaghetti Westerns and the next was a two-day event dedicated to the giallo and Italian horror cinema. Both these events took place in association with the University of Bedfordshire. The balance of academic rigour and cinematic appreciation is a key element of the Spaghetti Cinema approach. The 2014 event featured screenings of Dario Argento’s Phenomena (1985), Lucio Fulci’s ...E tu vivrai nel terrore! L'aldilà/The Beyond (1981) and Ruggero Deodato’s Ultimo mondo cannibale/Last Cannibal World (1977). These screenings were set in context by the appearance of figures involved in varying degrees in the production of the films including Deodato himself alongside his Last Cannibal World actress Me Me Lai. The event also welcomed Luigi Cozzi who worked on the special effects for Phenomena and star of The Beyond, Catriona MacColl. Spaghetti Cinema represents an evolution in both academic conference and film festival terms. Fujiwara claims that festivals have seen a ‘calcification of taste’ (2013: 218), while Cousins argues that ‘so many of them present retrospectives of, or tributes to, filmmakers, genres, or themes that are already well established, part of the canon’ (2013a: 169). Cousins also states that ‘[they should] look at the past of film culture in the broadest geographical terms’ (2013a: 169).
    [Show full text]
  • Complicated Views: Mainstream Cinema's Representation of Non
    University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] University of Southampton Faculty of Arts and Humanities Film Studies Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. DOI: by Eliot W. Blades Thesis for the degree of Doctor of Philosophy May 2020 University of Southampton Abstract Faculty of Arts and Humanities Department of Film Studies Thesis for the degree of Doctor of Philosophy Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. by Eliot W. Blades This thesis examines a number of mainstream fiction feature films which incorporate imagery from non-cinematic moving image technologies. The period examined ranges from the era of the widespread success of television (i.e.
    [Show full text]
  • 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 ............................................................................................
    [Show full text]
  • Last Tango in Paris (1972) Dramas Bernardo Bertolucci
    S.No. Film Name Genre Director 1 Last Tango in Paris (1972) Dramas Bernardo Bertolucci . 2 The Dreamers (2003) Bernardo Bertolucci . 3 Stealing Beauty (1996) H1.M Bernardo Bertolucci . 4 The Sheltering Sky (1990) I1.M Bernardo Bertolucci . 5 Nine 1/2 Weeks (1986) Adrian Lyne . 6 Lolita (1997) Stanley Kubrick . 7 Eyes Wide Shut – 1999 H1.M Stanley Kubrick . 8 A Clockwork Orange [1971] Stanley Kubrick . 9 Poison Ivy (1992) Katt Shea Ruben, Andy Ruben . 1 Irréversible (2002) Gaspar Noe 0 . 1 Emmanuelle (1974) Just Jaeckin 1 . 1 Latitude Zero (2000) Toni Venturi 2 . 1 Killing Me Softly (2002) Chen Kaige 3 . 1 The Hurt Locker (2008) Kathryn Bigelow 4 . 1 Double Jeopardy (1999) H1.M Bruce Beresford 5 . 1 Blame It on Rio (1984) H1.M Stanley Donen 6 . 1 It's Complicated (2009) Nancy Meyers 7 . 1 Anna Karenina (1997) Bernard Rose Page 1 of 303 1 Fanny Hill: Memoirs of a Woman of Pleasure (1964) Russ Meyer 9 . 2 Vixen! By Russ Meyer (1975) By Russ Meyer 0 . 2 Deep Throat (1972) Fenton Bailey, Randy Barbato 1 . 2 A STREETCAR NAMED DESIRE (1951) Elia Kazan 2 . 2 Pandora Peaks (2001) Russ Meyer 3 . 2 The Lover (L'amant) 1992 Jean-Jacques Annaud 4 . 2 Damage (1992) Louis Malle 5 . 2 Close My Eyes (1991) Stephen Poliakoff 6 . 2 Casablanca 1942 H1.M Michael Curtiz 7 . 2 Duel in the Sun (film) (1946) I1.M King Vidor 8 . 2 The Bridge on the River Kwai (1957) H1.M David Lean 9 . 3 Caligula (1979) Tinto Brass 0 .
    [Show full text]
  • FILM “DAL VERO” in ITALIA TRATTI Da FUMETTI 1938-2020 a Cura Di
    FILM “DAL VERO” IN ITALIA TRATTI da FUMETTI 1938-2020 a cura di Loris Cantarelli Limitandoci ai lungometraggi prodotti e/o doppiati in italiano (escludendo i documentari ma non gli apocrifi, e inserendo anche quelli in animazione mista al vero, così come quelli trasmessi soltanto in tv), di ogni film tratto da opere a fumetti riportiamo titolo, eventuale titolo originale, Paesi e anno di uscita, durata (con minutaggio esteso in caso di più versioni), regista, se prodotti per tv o home video, più una valutazione sintetica (da 1 a 5 stelle): buona visione! 30 giorni di buio (30 Days of Night, USA 2007, 113 min) David Slade ⋆⋆ 30 giorni di buio II (30 Days Of Night: Dark Days, USA 2010, 93 min) Ben Ketai ⋆⋆ 300 (USA 2007, 118 min) Zack Snyder ⋆⋆⋆ 300 - L’alba di un impero (300: Rise of an Empire, USA 2014, 102 min) Noam Murro ⋆⋆⋆ 5 è il numero perfetto (Italia 2019, 100 min) Igort [Igor Tuveri] ⋆⋆⋆ Accident Man (UK 2018, 105 min) Jesse V. Johnson ⋆⋆ Aquaman (USA 2018, 143 min) James Wan ⋆⋆ Adèle e l’enigma del faraone (Les Aventures Extraordinaires d’Adèle Blanc-Sec, Francia 2010, 107 min) Luc Besson ⋆⋆ Adrenalina blu - La leggenda di Michel Vaillant (Michel Vaillant, Francia 2003, 104 min) Louis-Pascal Couvelaire ⋆⋆ Ah! Che maschietta! (Tillie the Toiler, USA 1927, 70 min) Hobart Henley ⋆⋆ A History of Violence (USA/Canada/Germania 2005, 96 min) David Cronenberg ⋆⋆ All’Ovest di Sacramento (Le Juge, Francia/Italia 1971, 92 min) Jean Girault &Federico Chentrens ⋆⋆ Alita - Angelo della battaglia (Alita: Battle Angel, USA 2019, 122 min) Robert
    [Show full text]
  • Actress Mouni Roy Who Plays the Role Kunal Kapoor and Represent It in 1948 Summer of Tapan Das’S(Akshay Kumar’S) Wife SYNOPSIS: Akshay Kumar Olympics
    Community Community Qatar Cathy Academy Alderson P6Sidra P16 talks celebrates first about natural IB Diploma massage and Programme techniques for results. wellness. Thursday, August 16, 2018 Dhul-Hijja 5, 1439 AH Doha today 330 - 440 ARTEFACTS: Medical artefacts, including a jar once used to hold leeches, at the Science Center collection at Taylor Community Resource Center in St. Louis. COVER Q for quirky STORY What’s hiding in the Science Center’s vault? Shrunken heads, an iron lung and Mork. P4-5 REVIEWS SHOWBIZ Ready Player One is a I have more freedom in virtual disappointment. fi lms, says Sobhita. Page 14 Page 15 2 GULF TIMES Thursday, August 16, 2018 COMMUNITY ROUND & ABOUT PRAYER TIME Fajr 3.46am Shorooq (sunrise) 5.08am Zuhr (noon) 11.38am Asr (afternoon) 3.07pm Maghreb (sunset) 6.11pm Isha (night) 7.41pm USEFUL NUMBERS Ploey: You Never Fly Alone family migrates in the fall. He must survive the arctic winter, DIRECTION: Árni Ásgeirsson vicious enemies and himself in order to be reunited with his CAST: Jamie Oram, Harriet Perring, Iain Stuart Robertson beloved one next spring. Emergency 999 SYNOPSIS: A plover chick has not learned to fl y when his THEATRE: The Mall, Landmark, Royal Plaza Worldwide Emergency Number 112 Kahramaa – Electricity and Water 991 Local Directory 180 International Calls Enquires 150 Hamad International Airport 40106666 Labor Department 44508111, 44406537 Mowasalat Taxi 44588888 Qatar Airways 44496000 Hamad Medical Corporation 44392222, 44393333 Qatar General Electricity and Water Corporation 44845555, 44845464 Primary Health Care Corporation 44593333 44593363 Qatar Assistive Technology Centre 44594050 Qatar News Agency 44450205 44450333 Q-Post – General Postal Corporation 44464444 Humanitarian Services Offi ce (Single window facility for the repatriation of bodies) Ministry of Interior 40253371, 40253372, 40253369 Ministry of Health 40253370, 40253364 Hamad Medical Corporation 40253368, 40253365 Gold won 3 gold medals under British rule faced willingly to make India Proud.
    [Show full text]
  • Why Found Footage Horror Films Matter : Introduction
    Why Found Footage Horror Films Matter : Introduction Peter Turner, Oxford Brookes University The cinematic image of a young woman staring into the camera – crying, hyperventilating, and talking directly to her audience – has become the definitive image of The Blair Witch Project (Myrick and Sanchez, 1999). It is arguably the most famous scene, and certainly the most parodied image of found footage horror cinema in general, perhaps even one of the defining images of cinema in the 1990s. This character, Heather Donahue, is played by a hitherto unknown actress called Heather Donahue, in her feature debut. From what we see on screen, and the manner in which her monologue is delivered, it can be inferred that she is not reciting scripted lines. She does not seem to be acting; her fear appears genuine. Heather is alone in a dark tent, shooting this footage herself with a handheld camera. The shot did not look like most other horror films that had been previously shown in cinemas; it is poorly framed, poorly lit, and the character knows and acknowledges that she is on camera. There had been previous films in this style: Cannibal Holocaust (Deodato, 1980) contains the use of ‘found footage’ within its narrative structure, and Man Bites Dog (Belvaux, Bonzel and Poelvoorde, 1992) is a mock-documentary that purports to be completely filmed by a diegetic film crew. However, neither of these films had the cultural impact or box office success of The Blair Witch Project, a film that eventually spawned numerous imitators, and arguably the entire found footage horror sub- genre that now consists of hundreds of films.1 There is a straightforward economic reason why filmmakers continue to produce found footage horror films.
    [Show full text]
  • CARLO PISACANE Filmografia Essenziale Dal 1962 Al 1972
    CARLO PISACANE Filmografia essenziale dal 1932 al 1961 ANNO TITOLO TITOLO ORIGINALE REGIA VOTO 1932 LA TAVOLA DEI POVERI IDEM ALESSANDRO BLASETTI 7,5 1946 PAISA` IDEM ROBERTO ROSSELLINI 9,5 1949 CAMPANE A MARTELLO IDEM LUIGI ZAMPA 7,5 1952 UN LADRO IN PARADISO IDEM D. PAOLELLA • G. AMATO 7 1952 PROCESSO ALLA CITTA` IDEM LUIGI ZAMPA 8 1953 UN MARITO PER ANNA ZACCHEO IDEM GIUSEPPE DE SANTIS 7,5 1954 TEMPI NOSTRI ZIBALDONE N.2 ALESSANDRO BLASETTI 7 1955 LA BELLA MUGNAIA IDEM MARIO CAMERINI 7 1955 CANTATE CON NOI IDEM ROBERTO BIANCHI MONTERO 1956 CI SPOSEREMO A CAPRI IDEM SIRO MARCELLINI 6,5 1956 PRESENTIMENTO IDEM ARMANDO FIZZAROTTI 6 1957 UN ANGELO E` SCESO A BROOKLYN IDEM LADISLAO VAJDA 6,5 1958 I SOLITI IGNOTI IDEM MARIO MONICELLI 9,5 1958 UN ETTARO DI CIELO IDEM AGLAUCO CASADIO 7,5 1959 AUDACE COLPO DEI SOLITI IGNOTI IDEM NANNI LOY 7,5 1959 LA CENTO CHILOMETRI IDEM GIULIO PETRONI 6,5 1959 LA DUCHESSA DI SANTA LUCIA IDEM ROBERTO BIANCHI MONTERO 1959 LAZARILLO DI TORMES EL LAZARILLO DE TORMES CESAR F. ARDAVIN 6,5 1959 I MAFIOSI IDEM ROBERTO MAURI 6 1959 LE NOTTI DEI TEDDY BOYS IDEM LEOPOLDO SAVONA 6,5 1959 PREPOTENTI PIU` DI PRIMA IDEM MARIO MATTOLI 6,5 1959 IL RACCOMANDATO DI FERRO IDEM MARCELLO BALDI 6,5 1959 SPAVALDI E INNAMORATI IDEM GIUSEPPE VARI 7,5 1959 UOMINI E NOBILUOMINI IDEM GIORGIO BIANCHI 7 1960 LA CONTESSA AZZURRA IDEM CLAUDIO GORA 7,5 1960 IL CORAZZIERE IDEM CAMILLO MASTROCINQUE 7 1960 MARITI IN PERICOLO IDEM MAURO MORASSI 6,5 1960 I PIACERI DEL SABATO NOTTE ARABELLA 252104 DANIELE D'ANZA 6,5 1960 I PIACERI DELLO SCAPOLO IDEM GIULIO PETRONI 6,5 1960 RISATE DI GIOIA IDEM MARIO MONICELLI 8 1960 LA SCERIFFA IDEM ROBERTO BIANCHI MONTERO 6,5 1960 LA STRADA DEI GIGANTI IDEM GUIDO MALATESTA 6,5 1960 TOTO`, FABRIZI E I GIOVANI D' OGGI IDEM MARIO MATTOLI 7,5 1960 IL VIGILE IDEM LUIGI ZAMPA 7,5 1961 I BRIGANTI ITALIANI IDEM MARIO CAMERINI 7 1961 CHE GIOIA VIVERE ! IDEM RENÈ CLEMENT 7,5 1961 FRA' MANISCO CERCA GUAI..
    [Show full text]