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Review of Tetro - The return of a master


Francis Ford Coppola returns to sign a film entirely in more than 35 years from "The Conversation". "Tetro", filmed and written by the director now seventy years old, is a film in which he pours so much of what the family and the arts are meant for him, from the Italian origin (omni) presence of musicians 'home' .

Coppola tells us with an air of a theatrical family crossed by conflicting feelings, and often unsustainable. Benjamin, a few days after his eighteenth birthday, arrived in Buenos Aires in search of his older brother has not seen for years. Its not a simple physical research, but especially within the intimate analysis ambiguous and schizophrenic personality of Angelo, which has become Tetro (short Tetrocini, their last name). A poet cursed vivacchia in a deprived environment in the legendary bohemian district of La Boca, the heart of Argentine culture in the '70s, and that avoids the outside world into his work incomplete and never published outside of the classic heartache ' artist.


The meeting between the two will be a showdown, the decisive battle in a process that draws on both Greek tragedy and classical theater. The theater, writing, bohemian spirit that imbues the characters present to an ideal stage where Coppola to stage a film masterfully conducted, including a flashback to the present indefinite and well introduce the figure of the father-master, and sometimes even surprising from the point of view visually, through the use of a beautiful black and white and had an extraordinary straziatissimo and Vincent Gallo in the role, really right for someone like him, Tetro. On all of the inseparable assembly impeccable Walter Murch, Academy Award twice ("Apocalypse Now" and "The patient English "), which proves once again, after" The other youth, "he had digested better than most the change of guard between analog and digital.


A little 'novel of formation, there are all the classic figures such as 17 year old virgin American clumsy' weaned 'from a busty girl and her aunt Argentina (see "The Dreamers"), a little' crossroads of 'unfinished middle-aged artist, "Family Secrets" is undoubtedly a powerful film, epic, which navigates between the surreal and the real, in a timeless dimension. A renewed Coppola returns to the star of a movie theater majestic, made of images and great feelings.

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The Extra section of the Rome Film Festival presents "Human comedy in Tokyo"

"Human comedy in Tokyo" is a delicate fresco, with peaks poignant, on the situation of women of Japan's capital. The director uses a typical log cinemtografica east, crashing the basic concept of the long faces of the protagonists. Short acceleration times between locked and also spirits, Koji Fukada door to hand the viewer through all three episodes linked together by a detail, the last of which will arise as a moment of the entire solver tensions and ambitions of the first two.

The city, its mostly residential suburb, is covered with casual eye, told by the narrative details, but also from the body. Will in fact be the mirror of social loneliness that you will move, as souls who repeat a dance lonely longing gaze and interest of others.

In fact, "Human comedy in Tokyo" wants to first tell the people that make up the sun for most of the social fabric of a megalopolis like Tokyo swirling, the unrequited love, false ones, friendships and false reports of an evening.

The experiment boldly presented from good breeders Extra is produced by a little commercial appeal, both in duration, almost two and a half hours, which for stylistic. A film that will hardly be able to be seen in Italy, and that, even if seen, would welcome a few followers.

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The Festival closes with Celio Under the Blue, the (multi) colored documentary by Edward Winspeare

The documentary "Under the Celio Blue" ended the fourth edition of the Roman Empire. Dedicated to closing a small sociological phenomenon that is this asylum, Celio Blue. An almost idyllic place where masters of unconventional children of immigrants grow up, and also of mixed couples of Italian, a place where there are no classrooms, no desks or books. Teaching is something deeper, visceral, the Celio azure allows children to discover First of themselves, then they can happily compare with peers who come from all over the world.

Winspeare Edward returns to the documentary with a fresco that exudes humanity and love of life from the very earliest jokes, the constant 'lessons' of games and jokes have made a surprising model of integration and acceptance of different. All those who work there are the first to be fully integrated with the students, but especially with parents, in fact the work you do is first of all with them, which will be a fundamental part, almost picks, the path of children. An education-game start to the morning when the kids wake up and finish before falling asleep.

Romania, Morocco, Senegal, Armenia, Peru will meet in this tiny corner of the world in the center of Rome. A forgotten corner of the institutions, which now struggles with the cuts that the reform has laid down, constantly struggling with the lack of funds and building the structural flaws that make it more difficult.

path Winspeare incapperà also in the strong personality of the educators-teachers, which will be described with admiration epic, equipping them with an aura of personality that exudes a poetic awareness of the other incessantly. And during this beautiful road that is "Under the Blue Celio" The documentary will entertain more than expected, the public. You quickly lose count of the hilarious moments that a little 'kids, a little' teachers, thanks to the excellent choices Winspeare, put on it. The eyes of the frightened children from games, or perhaps stunned by this tsunami of vitality that asylum is for their young lives, carefree games of middle-aged men who have dedicated body and soul to the cause, have the background of stable an unconscious society, where more experiments like this are set aside for fear of an absolute perfection and suspects that causes really existed.

The documentary film is a scream of Puglia life that shatters the glass of a thin and not very multicultural hybrid societies still in the soul, a splash of rainbow in the clouds at all Italian, with tensions between religious and racial communities continue to sow ignorance and ignorance.

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Here are the winners of the Rome Film Festival: Brotherhood and Giorgio rights are a full house for the awards for Helen Mirren and interpretations

has closed its fourth edition of the Rome International Film Festival with the victory, well deserved, of "Brotherhood", brave Danish film that politely tells the story of homosexual love was born curiously, in a group of neo-Nazi movement. A film that cuts through a difficult subject in a formal register impeccable. The Jury of the Festival is the center, and chooses the best among the nominations.

The director also reveals an interesting background: "We were all very scared while filming the movie, because neo-Nazi presence in those territories is very strong."

The public instead gave preference to "The man who will" George Straight, who was also awarded the Silver Marcus Aurelius Jury. The film tells the realistic tones Marzabotto massacre in '43. The director says: "I hope that this victory will give an important signal, and is a good omen for the future of Italian cinema, it's really nice when there is an exchange of this kind with the public and regsitra such an appreciation. "

The winners of the award for Best Actor instead, Marco Aurelio silver, and, not surprisingly, the deep Sergio Castellitto of" Lift your head "in the shoes of a single father who goes to all colors, the best performer but has been the irrepressible Helen Mirren for "The Last sation" by Michael Hoffman.
The Italian interpreter commented: "Every award is a gift, but also a double edged sword: a reward and a responsibility to always do good, if not better. I sincerely hope that this award will bring good luck to this film, due out Nov. 6, and around which there is already great expectations. Now I run in Tuscany where I'm making a film in which actor and director, a hilarious comedy with Laura Morante, Barbara Bobulova and the return of the legendary Enzo Iannacci.

Finally the legendary Meryl Streep, undisputed star of the award ceremony and this entire year, the already announced to Marcus Aurelius career. sessentenne actress thanked the festival and the city moved.

Other awards:

- Marco Aurelio Silver for Best Documentary Film The other section of The Extra: "Sons of Cuba" by Andrew Lang
- Marcus Aurelius Alice nela city: "Vegas" by Gunnar Vikene.

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Castellitto Interview with Coen Brothers - In Rome to present

last Day Festival in Rome comes a pair of brothers, most beloved directors of America. The Coen. They have the film out of competition "A Serious Man", set in the Jewish community of Minnesota in the '60s. All this calls to mind the origins of the Coen: "We just shot the film in places where we grew up - says Ethan - but despite this there is nothing in the history of autobiography. It's all fiction."

And on the Jewish origins of the Brethren focus throughout the conference, very subdued. The usual 'known' part in the attack so absurd to ask the directors what they thought the Professor of Wisdom, Antonio Caracciolo, who carries out his own theories about the Holocaust denial through his lectures and his blog. Ethan rightly surprised, answers: "It seems a very strange thing, especially to happen in an academic context. But to be honest I do not know what to answer, because nothing really has nothing to do with our film."

The conference continues to beat the iron, now hot on the Jewish question: "The Jewish community - Joel says - it was very important for the film, has marked its genesis, we wanted to do a film about time in a precise and well defined. To do this we had a clear idea of \u200b\u200bthe community where we grew up in the 60s in the Midwest. "
And that representation creates hilarious moments in" A serious man, "situations may actually experienced by the authors, Joel said:" We have always been inspired by someone we knew, we put them all together and we created hybrids. Actually this is not the only film in which we did, we drew inspiration from people you know our whole career. "

Such a 'rage' to a film community as powerful and well characterized like the Jewish in the United States could turn up their noses more than anyone: "In the United States - says Joel - The Jewish community is very sensitive to the way it is described by the media. But most of the reactions on their part has been positive. However, it is impossible to tell when a community, not create some discontent. "
Ethan says to them:" It 's also true that the more radical community of Orthodox Jews do not go to the cinema and therefore can not comment. "

In film there are many local actors, is a feature that returns to the filmography of the Coen brothers: "In this movie yet - Joel - many players are in Minneapolis, and thus purely local actors. For example Michael Stuhlbarg but grew up in California and lives in New York. So call it a good mix between local and otherwise. Michael was very good because he immediately realized that there are differences between the Jewish culture of the Midwest and the one that characterizes the communities on the coasts of the United States. "

In conclusion, the brothers are first questioned about the nature of their work , which would belong to the category, Ethan does not want to differentiate between 'tragedy or comedy': "We never thought that way, here we simply try to be truthful and tell the story we wanted to tell. It is then up to the viewer and the people have the reaction they want. "

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A serious man and his legend Emitt Rhodes in "The One man Beatles" mockumentary amazing Italian News

A young Italian boy, Cosimo Messeri, having stumbled almost by chance in a vintage vinyl, falls in love with music by Emitt Rhodes. Who is it? One would wonder. Lawful demand to which the answers to the great documentary.

is a musician from California, with the ball in British pop, which took its first steps as a leader of the Merry-Go-Round, and later became a successful solo completely disappeared from circulation in '75. A mysterious disappearance at least, his was a talent of iron, the music is the mission of a life.

All this has helped to blur the legendary image of a man whose voice quality was almost identical to that of McCartney, even leading some to swear that the music of Rhodes were nothing more than extra material of the work of four cockroaches in Liverpool. A legend that preceded his music, now many thought had never existed. But his talent was crystal clear. Angelic voice and a versatility of multi-instrumentalist, he played every instrument recorded in pieces, hence the title (perhaps a little 'wink) documentary.

The documentary presented at the Festival is a work of an hour that will astound you the ability to tell the humanity of a character so unique, moving between familiarity with unconventional tones and looks more intimate. Among the intangible mystery of his disappearance from the scene and rarefied the look of a bear now harmless. The unfolding of "The One man Beatles" will follow the curious existence of Emitt, giving it a mature prophet karma music he seems to have touched throughout his life, without ever managing to hold it between your fingers holding it tight.

The images shot by a young filmmaker, including interviews with 'friends' of past and present of the artist and exceptional pills Rhodes today, viscerally will merge with the tracks of the singer and the film footage, a gem about the performance of the show Sir David Frost. One way that recalls both the joke, with the proper proportions, by James Mash, "Man on wire", two men, Philippe Petit and Emitt Rhodes, who lived mainly against the system, on the edge of a social life never really accepted by them ethereal souls.

"The One man Beatles" is a relaxed tribute to the music, the purism of an extremist who has enjoyed the fame without getting caught. The final mockumentary could easily be summed up in one sentence of Chekhov: "I take with him ... Our time is running out, we are no longer young. That at least the end of life does not need to hide or lie ... I have fifty-five, is a little late to change my life, "or maybe not?

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MP meets Giorgio Rights, Alba and Maya Sansa Rohrwacher for "The man who will be" The man who will

George Rights and the cast of his film "The man who will" presented at the International Rome Film Festival intense and realistic work on the massacre of Marzabotto.

(the director) Why did you choose to shoot in dialect? Do you not think that will be a difficulty for the dissemination of the film?

Giorgio Rights: "My choice to shoot in Bologna is part of an ancient general logic to create a strong involvement and realism to bring back the audience directly at the time. In fact, we soon realized that the dialect of Bologna drew too much current 70s and truck drivers, and therefore had a value significantly different from the situation in the mountains in 1943, and then we played the card of old Bologna. I must say that all the actors were great, in fact I met them two weeks before starting to turn and they gave me all their assent. I find that the use of dialect to help us take a step back in time, you laugh a taste and a sound that the Italians have lost. "

The film has a strong visual impact. How did you get?

George Rights: "The visual work we have done has many sources. He was born in the first place the photographs in b / n of the time. Then we have referred to a series of color photographs made by soldiers Americans. Finally there was an observation of artistic production on the 800-900 campaign. All these elements have merged and I then used my instinct for the shots. " What historical research has been done? George Rights: "We did a search on the above facts. I have described those guys Nazis, and they were all very young, this is proof that people were born and grew up under the Nazi regime. Then formed in a certain way, were for education led to consider the different, the Italians in this case, as a subspecies, as if they were subhuman. For them it made no difference to kill a cow, a woman or a mouse. The film has some historical basis very careful. Then I tried not to fall into stereotypes, things that we tell are all more or less happened, what interested me most was to tell the drama of men who kill others with the utmost naturalness.

In the film partisans are called rebels, because that choice?

George Rights: "Rebels was the standard way to define who was against the fascists and the Germans. Who was there then and rebelled against the regime. Basically it was a slang term without a significant political weight."

distribution What will the movie?

George Rights: "It will be distributed by Mikado (released Jan. 29 note) and of course there is a specific project related to projections for the schools. I survived but have not yet seen the film, there will be screenings in the area, there certainly will be a special care. Intramovies then is our seller for overseas and has already found interest. "

(actresses) Tell us about your transformation in farming in those years.

Rohrwacher Alba:" The first thing that pushed me was the confidence that George had in us. He saw in us a capacity to merge with the faces he had chosen. Then of course there was specifically a great job with the costumes, makeup and hair, which helps an actor to become something else. Me and Maya, we mix well with people with whom we worked, we wanted above all to join them to tell a story that we felt the need to be told. "

Maya Sansa: "In addition to what Alba said there was a great job of costume, the makeup artists and hairdressers have been very careful to play like that, even bringing back the dirt, not was a lack of hygiene, but a real lack of conditions. Then the clothes were oversized and a bit 'arranged, because there at the time they are passed from mother to daughter. Also the place where we lived during processing, who had a farm, it was very important to create the group and then there was this woman who taught us how to make bread, she worked all day through the fields and kitchen. We sent a working woman of great energy ".

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Review

Giorgio rights leads to the Rome Film Festival is a film that tells the Marzabotto massacre, a massacre perpetrated by the SS unprecedented September 29, 1944 that led to the bloody killing of between 770 women, farmers and children.

The film by the amazing "The Wind Blows Round" wants to be a tale of broken humanity, in a series of reckless and unbridled savagery. The filmmaker Bologna confirms its quality, creating a film that speaks to the public through the landscape and the faces of those who depend on that landscape, aside from easy trappoloni film historian or war.

work that looks to the realism, work recited in the ancient dialect of Bologna, now abandoned, thrown to the conditions of hunger and ignorance of those years there and especially of that historic moment. To make it even more lean and efficient Rights filters his story through the eyes of Martina, mute girl, or do not want to talk about that strange world that constantly surrounds it, finding time to time confronted with gruesome images and unsustainable .

"The man who will" godson, however, is much material with which Italian cinema has already been too often compared, has a look if you want more intimate and dry, although in the end picks up the tones, but still can not hit the mark.
A good product and then, delicate, well managed and consistent, but nothing more. Still wins the prize for best of the Italians in the competition, not a girlfriend wanted us to outperform the sparring partner "Viola dues and wasted" Raise your head. "

Some choices will remain fixed in the minds of those who see, see the dialect, the setting and the faces that fit like a glove with the two previous items, however, is the shock choice for the upstream by the director to board in an educational project so that more from time he could not give.

VOTE 65/100

Thomas Ranchino

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Castellitto and Angelini have Raise the head of the Rome Film Festival

Alessandro Angelini back to Roman event in 2006 after bringing "The salt air." Back to the topic parent - child, but this is only a starting point because the film is far more complex: 'It is true that here also uses the father-son theme, but here I only used as a cue to tell better the story of Mero, a winding path and anarchist who is the film's story. "
The director is keen to stress that in fact the winding road that take the film is deliberate:" We did not want to make a linear film, a film that followed a canonical path. We wanted to tell the life as it is, with a thousand faces and pitfalls everywhere. For this film as part of a ramshackle comedy, then becomes Bildungsroman, then a film by the highly dramatic tones, culminating in a final last liberating.

Even Sergio Castellitto, fabulous interpreter of the role of the protagonist Mero , has strong ideas about the movie, "Raise your head is a movie very simple and very paradoxically popular. My character is a worker, who is abandoned by his wife to have to grow from a child. A father-mother may be too invasive and too possessive. "
Castellito prorprio want to emphasize that the character" does something improper, and that is why it is nice. It 's a basic his mind, is a racist, but his racism is only popular, it is not a racism that follows from an argument or a culture. It must come to terms with the immigrants every day at work.
precisely these qualities of our characters is a film that stands as a student response to all that Italian cinema useless and self-referential, that cinema is more interested to look in the mirror to the window. "

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MP News incotra the cast and director of Just Married

In a press conference for a few close friends we met in Space Alitalia large group that put up the latest film by Luca Lucini" Just Married ". A cast that, see it all together, looks more like an association that could be called 'new generation of Italian cinema'.

The first question is for Crescentini and his character:" The character I play is nothing more than social climber, someone who wants the good life at all costs, even scarifying feelings. And pushing obsessively to such a life there has always been a strong mother that he kept repeating: love and money are always passes.
's character falls in love with Carolina magistrate nerd played by Filippo Nigro: "In me c ' is a beautiful percentualona nerdaggine of which is also found in my character, so to be honest I have not even had to struggle just to put myself in these clothes. "
The Crescentini steps in and says:" When you're a person much built as it is my character and see someone so simple and true tenderness you have to try and enjoy it. "

appears in the film by Luca Lucini, betraying the confidentiality and little desire to return to the big screen that features a few years, the legendary Renato Pozzetto. Of course the director must not have been a walk convince him: "I had to woo him a lot 'Renato, and I must say that the effort to make this a comedy that works is very level and due to the size and caliber of the actors who play even minor roles with few lines. I went home to convince him of cockpit, and I'm really happy to have him back on the scene back into the game. "

The character of Gabriella Pession is, like many things in "Just Married" overloaded and mannered: "My character is over the top with much Paris Hilton and Beyonce in its construction. But to tell the truth I have also inspired other people to leave you guessing where the name ...".

The director seems to have been inspired by the classic Italian comedy: "More than a reference to some or film scene was exactly my own attitude. I always liked the Italian comedy a lot, and I am convinced that today we can invigorate modernizing them by setting aside the complex of inferiority towards the foreign film that we carry with us. If the characters are well written, and interpret them are great actors can come out from the stereotype of sun specks that our cinema carries around, and the characters have depth and humanity as well. "

In a film about marriage more glossy print can not escape being a question about this social institution-sentimental, and the various actors cast their say.
Isabella Ragonese, "I will never marry."
Francesco Montanari: "I'm getting married at age 90, if c'arrivo, Greece. I, you and the sea. "
Gabriella Pession:" I find that the bureaucratic organization is terrific and, at most I could go into a place and get married like that, at the time. So I could only marry in Las Vegas. "
Moran Atias:" I hope to find a person to share life and get married. "
Argentero Luca (just tie the knot with her colleague Myriam Catania):" Faith in the hand gives me a great feeling, I, unlike my unfortunate colleagues (ride ndr) I believe that marriage is a very important institution, and that coincides with luck, I had to find someone to share the rest of their lives. "
Dario Bandiera, who entertained everyone present during the mini- press conference: "Okay but not the case, Luke is a quiet guy, brings peace to everyone on the set, we are a bunch of fools. As for me I like being married and cohabit, but better because if we let ourselves do not owe give nothing, and then I can go with whoever seems to me, I like the equal relationship. "
Filippo Nigro:" Although I'm happily married, although I do not wear a wedding ring on my hand because I find that is wrong, let me seem to be a butcher. "
Carolina Crescentini:" I will never marry because they want to know if my partner will be with me in 30 years or not, I find going through. "

Lucini, spurred by these as to why had not raised the bar of a comedy film made more sophisticated, says: "My first goal was to make a comic film and popular. I find it a great honor that we are able to laugh the grocery store CEO of a company. It is an attempt to bring a certain kind of audience to a play that no longer exists. "

could not miss a thought for Michele Placido, who played great in" Just Married ", which is not present, and as the director has convinced after cockpit, even a leader like him: "I was sure that going over the top the film would have bought more strength and originality. I thought you explain this to Placido and convince him to accept a character like that would be an undertaking. But he understood me immediately, when I made a reference to Nino Manfredi, bad, dirty and bad. Then he found himself very well on the set with the rest of the cast, Luke, Pannofino, Lunetta Savino and created a climate really fair. "

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Clooney presents his latest movie in Rome and the Italian press continues his duel with vulgar

Clooney has a good relationship with the Italian journalists, this is now evident. Its conference present the acclaimed "Up in the air" was dull and without biting a susseguirisi of questions that have little to do with the great American films that the actor was presented in Rome and offers a wide range of topics provision of a press that immature here, I do not know how to exploit.

Inescapable once again the question, indeed the exhortation to do outing, about the supposed homosexuality of Mr. Clooney, who answered the interviewer: "She's a really nice person."

A short conference, which runs between the announcement of the two projects Clooney in his directorial that boiling cauldron, a film about Guantanamo and a comedy, and statements of fact about Violante Placido, with whom he is currently working on the set of the forthcoming "The American", "Violante is fantastic actress and a wonderful woman."

About the film that turns in Sulmona inevitable, and would call missed, sull'Aquila two words: "The city has to restart their lives, we must still keep it under the light reflectors, to prevent a tragedy of this size fall into oblivion. It 'the only thing we can and must do. "

In the big question here is proud of nonsense about politics, a brave journalist asks the handsome George the first things you would do if one day become the Prime Ministers: "But this does not work for the case in America where you can not become president if you were not born on the soil of the state? So the problem does not arise. "It's just not responding.

short Clooney's got the press, it was feared even a withdrawal from the press conferences for the presentation of film, this would a simple consequence of the choice already made at the time not to release more interivste tv when he comes out his new film, "When I present a film does not release more interviews because we never hear the end of the film itself but when I'm half ends always on the gossip. "

E 'truly depressing watching shows like that, especially because there in front of someone like Clooney, one of cinema knows, one behind the camera says that even his own, one that is cutting its very attractive space with roles in films (semi-) independent, and that went well for a long time to fuss over handsome superstar. It would be enough to understand.

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star Asia Argento meets the public

Asia Argento appeared self-confident and less dirty girl how you painted the usual. Featuring un'autoironia really abnormal and witty in reply, and wink.
It is presented as an encounter with the audience, moderated by Mario Sesti, in which he retraced his career, focusing also on the direction and future.

What was presented as a bad girl is showing today as a 34 year old any, ways to make rock-star style have made room for the modern mom who sports a radiant and happy: "At the movies I have often played roles extreme I'm really enjoying it. But it was not me. "And in fact she is different, all right if it is." I was stuck for a long time in those roles. It 'was my choice. I liked to explore. Guilt of shyness. I am deeply shy, a little 'hermit, I go home soon. So, when I went to make films, I wanted to explore. I'm still shy. Look, my sweaty palms. "

A shot to the heart to her fans?

Today maybe his head moviegoer, who grew up on bread, blood and cinema, is projected greater effort in building a career, and above all his credibility behind the camera. Indeed, the works she signed so far have not attracted the favor of critics and audiences, to "Scarlet Diva", which has often been killed, said: "I was 23 and I wanted to tell that story, it was a matter of life or death, as happens when you're young . I wanted to make that movie at all costs, was a rage that I wanted to leave. Now I can hardly see him, is like a childhood memoir, with all the imperfections of adolescence. In Italy it was not very popular, there was the sense of humor and many have thought but he took me seriously. But the criticisms have helped me. "

director's career has always recommended it to him his father: "The actors are terrible people, you should do director "(Dario Argento). And on his approach to acting reveals an interesting background about his performance in" Palombella Rossa "Nanni Moretti:" He drove around the scene two thousand times. Later I realized that he did it with everyone. But then, I had 14 years, I thought he did it only with me. And I began to think that really did not do that job for me. "

And heavy on his family art, which counts in his family tree as close as directors, actors, producers, she points out that it is not a letter: 'It is true that filgia art, but I always had to make myself a bunch like that. Incessantementa work since I was 9 years.

short, the determination and tenacity of Asia and we all know, more or less, we have learned to appreciate, or support, does not seem completely dormant. Perhaps she should remember most of realizing that his own hand, this has always been characterized by avoiding the specter of oblivion and approval.

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the Rome Film Festival Review: Lang Zai Ji (The Warrior and the Wolf)

Set over 2,000 years the Chinese film director Tian Zhuangzhuang submit to the Rome Film Festival in competition. Emperor Han troops are defeated by the rebel tribes living to the extreme western border, General Hu was forced to return the survivors to court, where it awaits the fate of the defeated. On the way back the relentless snow storm forces them to stay in the city of Harran, where he lives a cursed tribe, coming out only at night and turns into a wolf when it is coupled with a 'foreign'.

E 'comes to life here that the violent and passionate love between a woman and Hu Harran, director indugierà not least in the tale of carnal embrace between the two. The film will be about 2 / 3 formed by the desperate and violent sex which will lead them to an impossible love, werewolves dire consequences.

Apart from some scene with a strong impact on the landscape, the Chinese film reveals a hopeless wreck. The love between the two, who was born from a rape to settle back down on civil tones of violent sex, turns out to be the first screen appearance of the woman, too much attention and seriousness of the author.

The film seemed on the verge of becoming decent when they were appointed Harran, the tribe cursed with its legends and mystery that surrounds them for centuries, which allowed to presage the arrival of a handful tired and defeated soldiers in a hostile community and the supernatural. And yet this issue is left in the background, even mentioned in some sequence ridiculous.

All, fortunately, goes out in a final symbolic and unnecessary. Rejected.

VOTE 40/100

Thomas Ranchino

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Parnassus - The man who would cheat the Devil (The Imaginarium of Dr. Parnassus)

The 4th Festival Rome has lived most certainly one of the experiences and expectations of greater appeal to the Auditorium with a screening of Terry Gilliam's latest film "The Imaginarium of Doctor Parnassus." A project marked by great expectations and attention ampilificata obviously out of proportion by the death of Heath Ledger.

Gilliam makes courageous choices, perhaps unwise, for the whole movie. Almost religious exaltation of color and blinding of the most absurd kitsch behind the magic mirror of Dr. Parnassus take forms rarely seen before. An exercise megalomaniac in search of the perfect surreal, interposed in a world that we all know where the customers eating and drinking Imaginarium oppressed their souls and give relief, each in its own way, to dreams and nightmares, always forced to choose between devil and holy water. Gilliam also enter nell'Imaginarium, and soon loses control of the material in his hand. Enhances their strengths, highlighting while the defects.

His innate inclination to provoke the imagination of the spectator, throwing at a childlike ruminations, here touches the apex. And then the film will be a journey into absurd stories, immortal, always interrupted at the beginning of another, more compelling, the characters have been stolen here and there to fables, to tragedy, mythology (Faust at all) and the cinema gender.

And here comes the Gilliam who can not control, what can not tame the world that is not even on this side of the magic mirror. The director, who was also haunted by a project may soon scappatogli hands, he can not realize that to continue to tease the imagination the audience must make them believe that there is still a thin umbilical cord that keeps the story, or at least the characters, attached to a semblance of reality that makes it truly magical and timeless, avoiding to give his side a point d ' irritability that someone could reveal in more than two hours of delirium.

We had dry, thinning all over the 'too' Gilliam, and there's so much, thus reinvigorating the good ideas from which you started. Metaphorical than from the fact upon which all art, which is nothing but the world behind the mirror, the door for us all to a nice drift where anything goes, to get a result to the mythological figure of the artist that can never fully enjoy their talent.

The untimely death of Ledger has certainly not helped the compactness of the film, which is in the midst of this hubbub also proposes the transfiguration of the character of Tony, beyond the mirror, take the usual faces of Johnny Depp, Jude Law in a way out of a good role and Colin Farrell. Despite the cleverness of those who have made this decision, analyzing the history entirely plausible, prospering in his latest film's regret, more than misericordistico film lover, the death of Ledger, and magnetic chameleon here as we wanted to see him again and again.

If it is true that the good thing too, however it is undeniable that the excesses are also of great curiosity, and this is what it deserves Gilliam's film, a lot of healthy curiosity and admiration, with the clear awareness that he would have done better simply by adjusting the throw in a couple of choices.

VOTE 58/100

Thomas Ranchino

Terry Gilliam remembers Heath Ledger

The former Monty Python genius arrives at the Rome Film Festival to present "The Imaginarium of Dr. Parnassus", the last film played by the late Heath LedgerDifficile pause on a movie, even though the importance of "The Imaginarium of Dr. Parnassus "When this brings with it the touching testimony of a life and career, interrupted abruptly. And in fact the encounter with Gilliam back often, almost always, to the memory of the American. "I was an actor, a man and a friend unbeatable. Full of life and humor, also has a hint of sarcasm, and then one thing that impressed me about him was the wisdom that he brought with him. I always thought that Aboriginal blood flowed in his veins, 247 years when he died. "In the film the scenes that Ledger could not have been given a starring Johnny Depp, Jude Law and Colin Farrell, three distinguished friends of Heath:" Johnny, Jude, Colin wanted to cooperate and take part because the film has always been very close to him. And I find that they know so well, they have also brought in their interpretations. Even Tom Cruise's entourage has brought its Assisted to replace Heath, but I have not accepted because they knew little about. I just wanted to close friends of Heath on the set. "Obviously the death of Ledger has all facing a series of choices to make:" We decided - says the director - not to change the script entirely, of make the film as we had imagined with Heath. "And this statement shifts the focus on the passion that the performer had for the direction, which he wanted to do the job tomorrow:" He was so determined to become a director on the set did nothing but learn and his desire to learn was inexhaustible. He wanted to keep changing scenes and even changed their lines. His presence was so strong on the set that we had thought to co-sign the director. To be honest I often could not even keep up with all his energy was incredible when he was working. "
And this energy on set was probably one of its key features, what the immortalizing are in everyone's memory as a character incredibly charismatic and full of life: "He was laughing all the time, really surprised us at every moment, all filled with jokes. And the amazing thing he did all this without forgetting the continued construction of its character. It changed focus and ways depending on the object of his seduction. This chameleon-like nature that has helped create a truly complex character I'm sure that has helped the work of Depp, Law and Farrell who were able to reinterpret them as a character with a thousand faces. "

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Muccino vs Tornatore

Continue the course of the Festival in Rome to present to the public duets (or duels?) exception, the chairs of the Hall Petrassi who last year were reserved for Toni Servillo and Carlo Verdone pass this year the pair of authors Gabriele Muccino - Giuseppe Tornatore. A pleasant conversation, sometimes a bit 'tedious in others, goes through the most memorable scenes from their films, which were chosen each other, the work of the two. Two visions of cinema formally different, basically no. Both lovers of choral participation of a diverse look and always in motion, the scenes of "Malena" and "Come te nessuno mai" proves its effectiveness, meet without clashing. Nevertheless, the conditions had seemed different, ready-e Muccino attacks Tornatore: "You are redundant in your films, at the end in that chaos does not reach the heart of the question that you want to tell." And Tornatore, less fizzy and histrionic fellow Roman stuttering in speech, but with rhetoric from old fox, dry retorts, "I say it in so many, never thought it's just my style?". Waters, alas, becomes quiet soon. The couple cradling each other, for harping on the questionable "Baar" on one hand, doing good by the other seller. Tornatore, even renamed Peppuzzo Muccino occasion, describes the film of the Roman Empire: "His constant talk about so I think it is effervescent, sparkling, different generations. It seems to me that all the protagonists of his film to go into what is also the title of one of his films: The Pursuit of Happyness." It is really close to what it was for Italy Muccino, however, soon forgetting what he is doing instead of overseas, where it agrees to stun the audience with all the anxieties of Hollywood Mr. Will Smith. In films from the Sicilian is evident, too, the continuing tribute to the cinema, "Cinema Paradiso" and "The Starmaker" at all, while Muccino in this aspect is not found, even if he is called , entertaining the public, a "who knows what and who steals. Although it takes to steal art." include scenes from "Seven Pounds" and "The Pursuit of Happyness" you come across an exceptional actor Polanski for a sequence, that of suicide Depardieau, a "mere formality". Wonderful opportunity, given the recent events related to the incarceration of the Polish genius, Tornatore for correcting the shot to the statements he left days ago: "Many have misunderstood the meaning of my words in his favor. I did not want to endorse the 'rapes copyright ', as some have wanted to play, but only to show my affection for Roman. Justice must take its course, but so far things with him went in a somewhat 'strange. "And Mario Sesti, and the whole room, it is ideally close around Roman, who will end his" Ghost "in prison for presentation at the Berlinale 2010. Again the 'encounter between two great Italian cinema of today has a center, largely because the real merit of a project of this type is to convert casual viewers into (new) movie buff, and this is always good for us, letting it into unknowingly in a mindset that did not have before.

Hizashi No Naka No Riaru Ds

Review: Among the clouds

Clooney enchants the Festival with a character that is sewn on, and everyone likes the movie

again in Rome, yet a full immersion in the microcosm of unconventional characters for Jason Reitman, if it is true that three signs are a test, after "Thank You for Smoking" and "Juno" movie buff says softly to the world to be good. And it is for many reasons, to begin with because he always give the best actors, Aaron Eckhart first, then Jennifer Paige, still cradling and reap the benefits of their experiences reitmaniane. It is because it generates its register bittersweet laughter smarter, brush black tales never redundant. Today

its prey is the profound crisis of U.S. companies that are forced to reduce drastically staff, should rely on professional headhunters. Unscrupulous people homeless, devouring kilometers to lay off the poor wretches. And the team of middle-aged Hollywood actors no one better than the languid-eyed boy George Clooney could not embark on a role like this for granted. And then the monster soon Reitman takes shape, a man of loyalty cards attached with airlines, rental car, the big hotel chains (and hence the product placement is wasted), who lives his life, empty, redundancies between lightning and conferences in which to promote a philosophy of life of its own and somewhat depressing. All this between sequences that wink laugh ever granted.

Reitman confirms skilled trainer of oddities, the movie plays and entertains, thanks to share this with Clooney, it is sometimes even compelling, with an eye to current attacked the United States, and a breach of a companies for some time, Obama aside, seems to have reached a saturation point of concern.
E 'here perhaps the greatest merit of "Up in the air", in the frantic bustle of the city and succession of States, the eye of the protagonist through the length and breadth of Pese a whole, and the author, in parallel, it should be at the bottom of a sociological system on the common denominator.

The film does not end here, the characters find themselves unwitting passengers on a route that will (almost all) to a resolution, or at least mature, which will mark the continuing of their lives. And Ryan (Clooney) will be the glue, the deus ex machina that will start every internal process to people who work with him, finding the bitter realization that the curtain closes.
Everything is fast, the pace is pressing the viewer. A film to see, a gem for the Rome Film Festival.

VOTE 76/100

Thomas Ranchino

Implantation Bleeding More With Twins

Review: Purple The sea

Auditorium Presented the first Italian film in competition. Produced by Cucinotta, who also cut a small role, and distributed by Medusa, the film is inspired by a novel Maoirca Giacomo Pilati, "King Shit", which tells the story of homosexual love and the two young women Sicilian island of destination 800. approach to the issue and the entry of this in a patriarchal iperconservatore and were not the most convenient, and indeed the film of Majorca crumble soon. The story, although taken from an episode of (say) really happened, is stifled under the weight of countless superstructures that are created above, once again the complexity of a novel plan to ruin the film. The interesting ideas out there, see the bold directorial choices expressed by non-conventional shots and little television (risk having averted the militancy of the author in the small screen) and the soundtrack of Gianna Nannini, and actualizes that stains the nineteenth century costume. But not enough. voluptuous choices that accompany any relationship between the two, a good Solarino, which comes out in the long run, and un'impacciata Ragonese, ball less than "whole life ahead," clog the taste of the beholder film, paralyzing the path undertaken within the sub-categorization of hypocrisy popular and all of a melodrama ambiguously realized. A melodrama in which the motto is: "There's only one way to love yourself" (Angela Sara). On the other hand the sudden change of course that "Viola dues lives, not get ahead, leave the field to the theater of the paradox, arouses the curiosity of the most careful and increases the regret. The real strength of the whole project would have been to analyze the reactions and social relationships that a time bomb as the relationship between Angela (Solarino) and Sara (Ragonese) and its consequences could have. This is especially true in an environment like that, and make better use of the setting of the island, which helps all right in these experiments (Abrams docet), would strengthen the system metaphor and the success of the film. But what remains is a melodrammone too elaborate living above interpretation of the singularity and Solarino still recognizable theme, all delighted with some erotic scenes that highlight the impact fiscihe sinuosity and roughness of the two protagonists, models beauty of the antithesis between them.

Mp News Solarino meets Valerie, Isabella Ragonese, Donatella Majorca, Maria Grazia Cucinotta and Gianna Nannini

(the director) The desire to be an amicable love, which in the end turns out to be the only sincere feelings, what is due?

Donatella Majorca: "Purple sea is a great story of love and freedom, the freedom to choose whom to love. Angela is a woman who falls in love just will not all women. And That's why the history between them, being universal, was present then and is relevant today.

Then I was interested in exposing a latent virus in humans: the racism and violence against different. Another aspect that makes the actual movie. "

(actresses) How have you approached your characters are not easy Have you ever thought of exchange?

Valeria Solarino: " Do not I never sold my role, I was strongly attached to the character of Angela. I've always had in mind one thing clear: Angela Sara loves at any time in history. So here we speak of love as it should be considered: two human beings come together without having to fall into clichés established or having to fill the tables have already been written. "

Isabella Ragonese: "The character of Sara, I worked and exhibited in a less obvious than that of Valeria. I had to take a path more soottile before shooting I tried to forget everything related to current events, I thought of a girl normal naive and trying to understand what could take her, what she was in love.

And I think Sara falls in love with love that Angela feels for her, rather than Angela herself. The film is about how powerful a when passion is real. "

(the manufacturer) How to comment on the rejection of the law against homophobia?

Maria Grazia Cucinotta : "I never talk politics, talk about it all today and it's so serious because it confuses people. I just do movies, and so I face the problem. Doing my job and pursuing a films of the genre. To make it I got a lot of doors in my face and I thank fortmente the Medusa who believed in the project. "

(on the soundtrack) Did you have fun in composing the soundtrack for Purple sea?

Gianna Nannini: "For me, when I make a soundtrack is always important to speak with the director. This time given the potential environment characterized wanted to get out by the commonplace of popular music, and since today the rock and popular music par excellence for me the transition was very close. I also wanted to go personally to the place where it happened and everything was shot. In the end I put the guitar sounds very acidic, which belonged to the place and its flavors, I sampled being there. "

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photoreporter boycott Paz Vega and Christopher Lee

The waters have now shaken the day 's opening of the Festival, and this time there were neither capricious nor the organizers of the stars in search of a vision for the festival move, but the photographers accredited to the event. A little 'journeyman, a little' artists have sent a blank first photocall of the festival, that of "Triage". The beautiful Iberian Paz Vega, the sacred monster Christopher Lee and the Serbian already won an Oscar for "No Man's Land Danis Tanovic were dry mouth, no flash and no appeal homemade like this," Paz faces a Soriso "are delighted with the morning star landed at the Auditorium of the very first Festival. Singles the news especially if one considers that the protagonists in the films in question are two war photographers sent in Kurdistan, which, holding at bay, do not make an idyllic view. Since its FPA (Professional Photojournalist Association) maintains, correctly, that the spaces dedicated to photographers on the number of these are unsuitable, and therefore the conditions in which they work are unacceptable. In the statement released photojournalist debunk the myth that "it would be to prohibit the Renzo Piano building for the photocall, recording the denial of the architects of the team plan .

Adapter Praktica Nikon

The magic of Moroccan music fills the first day of the Rome Film Festival

Presented at Rome Film Festival as a special screening of the documetario "Sound of Morocco" of Giuliana Gamba . A mockumetary gently outlining the country's music scene Moroccan, recounting the magic and magnetism inherited from tradition, through the trip to Zri Zrat, cradle of the oldest Moroccan music movement, and the reason for its growth and dedication through the meeting with Sayed Omar, leader of Nass El Ghiwan history, defined Scorsese on the 'Rollin' Stones of Africa '. The Cicero of this journey into the incredible sounds of a country like Morocco will Nour Eddine, who for twenty years living and playing in Italy, and that there will be a liaison between our way of thinking and that of a country fervent transformation. These excuses have helped the film to better tell the landscape today, passing through the cities of Tangier, Ouazzani, Meknes, Casablanca and Essaouira (which takes place every year the Festival of Gnawa music). A fresco complex and compelling, leaving the improvisation of the musicians involved, see the impromptu freestyle rapper from Casablanca and already cries of women in a traditional festival, the reins of the story of a people living a moment of great pride and vindication, drawing from yesterday to build an acceptable tomorrow.

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Review: Public Enemy

John Dillinger was in the U.S. Great Depression of the anti-hero of an entire people, the elusive bank robber, romantic, down on his knees, blow by blow, the very institutions that sank in those years the economy of a whole country. The man who sat alone in crisis and questioned the efficiency and effectiveness of the newly formed FBI. The one who challenged the entire system, scoring evasion and robberies from coast to coast.

Dozens of novels and production if they are employed before, but here we are faced with something other than viscerally.

This is the excuse, not least, from which part of Mann: a land where the director of content is moving to say the least at ease, that of the definition, almost epic, life, death and miracles of evil from the heart of 'gold. Assassins irrepressible charisma on screen, like Tom Cruise in Collateral, or the corrupt cops in Miami Vice, that the claim of planetary Michael Mann can see played by star of the first order.

This time it's the turn of a perfect Depp in his interpretation, that aside, at least until 2011, the role of attacker struck, and he finds the magnetic character of a gangster movie shot, obviously, to Mann. Just a couple

Depp-Mann will be the engine of "Public Enemies," to shoulder camera shots in the service of an interpretation of the old school, where not necessarily need to be transformed, fat, ugly, old or tease loves to draw public, critics and Academy.

The rest, though well cared for, here is an outline that becomes trivial: the expressionless Bale deliberately relegated to a secondary role, the description of an era too often now view the movies, soaking up the easy stereotypes that life by gentleman thief and women who shoulder great 'Edith Piaf' Marillon Cotillard hold out easily.

The jump in quality compared to a good film does do, granted, directing vein of Michael Mann, who sets up a classic gangster movie shot in a cinematic record that he, before and better than others, embodies. Experience of a realistic image, a photograph with natural pushed almost to the point, feeling that the new media like the Internet (see youtube) taught how to digest daily bread, but on the big screen distort the viewer. The plunge alongside Depp in turn, through an imaginary camera hidden in the dens of criminals of the '20s.

And then hats off to Mr. Mann, who, in the era of 3D to all costs, everyone shuts up and confirm the absolute master of the avant-garde cinema technology with high budgets. "Public Enemies" works across the board (cast, script, sets, costumes) is a gangster-movie tier, where it appears that the shot is one of the backstage of a self-addressed webtv on site and not to annoy the officer on duty majors (Universal).

VOTE 80/100

Thomas Ranchino