Pietro Marcello with Anne-Katrin Titze on his Scarlet end credit thanks: “Renato Berta, in addition to being a friend, he is also a teacher. Thanks to Caroline Champetier we were able to shoot in 35mm. And finally Gianfranco Rosi, he’s an old friend.”
In the second instalment with Pietro Marcello on Scarlet (L'envol), his adaptation with Maurizio Braucci and Maud Ameline (Mikhaël Hers’ Amanda), in collaboration with Geneviève Brisac of the 1923 novel Scarlet Sails by Russian author Alexander Grin, we discuss the influence of Vittorio De Sica’s Miracle In Milan, the chance discovery of Louise Michel’s poetry, fathers as mothers, dethroning princes and knights in shining armour, being an archivist, Louis Garrel’s crocodile entrance, Pietro’s new project on the question what is war, and the end credit thanks in Scarlet to Renato Berta, Caroline Champetier and Gianfranco Rosi.
Raphaël (Raphaël Thiéry) with his daughter Juliette...
In the second instalment with Pietro Marcello on Scarlet (L'envol), his adaptation with Maurizio Braucci and Maud Ameline (Mikhaël Hers’ Amanda), in collaboration with Geneviève Brisac of the 1923 novel Scarlet Sails by Russian author Alexander Grin, we discuss the influence of Vittorio De Sica’s Miracle In Milan, the chance discovery of Louise Michel’s poetry, fathers as mothers, dethroning princes and knights in shining armour, being an archivist, Louis Garrel’s crocodile entrance, Pietro’s new project on the question what is war, and the end credit thanks in Scarlet to Renato Berta, Caroline Champetier and Gianfranco Rosi.
Raphaël (Raphaël Thiéry) with his daughter Juliette...
- 6/7/2023
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Claudia Squitieri with her mother Claudia Cardinale on Werner Herzog’s Fitzcarraldo: “it’s one of her most adventurous experiences.” Photo: courtesy of Claudia Squitieri
In the second instalment with Claudia Squitieri we discuss more of the films her mother, Claudia Cardinale, starred in. Werner Herzog, Klaus Kinski, Mick Jagger, Jason Robards, Thomas Mauch, My Best Fiend, and filming Fitzcarraldo; encountering Fernando Trueba (The Artist And Model) in Deauville and reconnecting with Jean Rochefort; Manoel de Oliveira and an “atmosphere of mysticality” during the making of Gebo and the Shadow with Jeanne Moreau and Michael Lonsdale, shot by Renato Berta; Blake Edwards and The Pink Panther, the problem with sequels and playing Roberto Benigni’s mother in Son Of The Pink Panther all came up in our conversation.
Claudia Squitieri from Paris on Roberto Benigni with Claudia Cardinale: “He was going “Claudia!!!!” Jumping around every time he saw my mother.
In the second instalment with Claudia Squitieri we discuss more of the films her mother, Claudia Cardinale, starred in. Werner Herzog, Klaus Kinski, Mick Jagger, Jason Robards, Thomas Mauch, My Best Fiend, and filming Fitzcarraldo; encountering Fernando Trueba (The Artist And Model) in Deauville and reconnecting with Jean Rochefort; Manoel de Oliveira and an “atmosphere of mysticality” during the making of Gebo and the Shadow with Jeanne Moreau and Michael Lonsdale, shot by Renato Berta; Blake Edwards and The Pink Panther, the problem with sequels and playing Roberto Benigni’s mother in Son Of The Pink Panther all came up in our conversation.
Claudia Squitieri from Paris on Roberto Benigni with Claudia Cardinale: “He was going “Claudia!!!!” Jumping around every time he saw my mother.
- 2/11/2023
- by Anne-Katrin Titze
- eyeforfilm.co.uk
This review of “‘Il Buco” was first published May 12, 2022, before its debut in New York City.
In 1961, a group of young Italian speleologists — scientists and researchers who study caves — journeyed deep into a heart-shaped crack in the Earth in the Calabrian valley. Michelangelo Frammartino’s “Il Buco” (“The Hole”), a painstakingly accurate recreation of this expedition, is nothing short of miraculous, and one of the year’s best films.
The film begins with the juxtaposition of an elderly shepherd tending to his flock on the side of the mountain, as villagers in a nearby town watch a television presentation on the construction of the Pirelli Tower in Milan. The television sits outside, its footage fuzzy. This is a village that lingers, still, in the old world, with stone houses carved into the side of the mountain. Soon, a busload of speleologists arrive from the North, from Piedmont, to climb deep into the Earth.
In 1961, a group of young Italian speleologists — scientists and researchers who study caves — journeyed deep into a heart-shaped crack in the Earth in the Calabrian valley. Michelangelo Frammartino’s “Il Buco” (“The Hole”), a painstakingly accurate recreation of this expedition, is nothing short of miraculous, and one of the year’s best films.
The film begins with the juxtaposition of an elderly shepherd tending to his flock on the side of the mountain, as villagers in a nearby town watch a television presentation on the construction of the Pirelli Tower in Milan. The television sits outside, its footage fuzzy. This is a village that lingers, still, in the old world, with stone houses carved into the side of the mountain. Soon, a busload of speleologists arrive from the North, from Piedmont, to climb deep into the Earth.
- 5/20/2022
- by Fran Hoepfner
- The Wrap
Michelangelo Frammartino on Nicola Lanza, the shepherd in Il Buco (The Hole): “His face seems like the bark of a tree; it seems created by the stones of the Pollino.”
When I spoke with Michelangelo Frammartino in 2013 at the Tribeca Film Festival MoMA PS1 world première of Alberi, hosted by Artistic Director Frédéric Boyer, I mentioned that he should check out James Turrell’s Meeting on the third floor. Now in 2022 he sees the connection to Meeting and the opening shot by cinematographer Renato Berta in Il Buco (The Hole), co-written with Giovanna Giuliani and produced by Marco Serrecchia.
Michelangelo Frammartino with Anne-Katrin Titze and the rock on shepherds: “They have this ability to never appear, and therefore they are the voice of the mountain.”
Bird sounds start the film, as we see the sky from below, from the perspective of a cave with a vaguely horseshoe-shaped opening. The...
When I spoke with Michelangelo Frammartino in 2013 at the Tribeca Film Festival MoMA PS1 world première of Alberi, hosted by Artistic Director Frédéric Boyer, I mentioned that he should check out James Turrell’s Meeting on the third floor. Now in 2022 he sees the connection to Meeting and the opening shot by cinematographer Renato Berta in Il Buco (The Hole), co-written with Giovanna Giuliani and produced by Marco Serrecchia.
Michelangelo Frammartino with Anne-Katrin Titze and the rock on shepherds: “They have this ability to never appear, and therefore they are the voice of the mountain.”
Bird sounds start the film, as we see the sky from below, from the perspective of a cave with a vaguely horseshoe-shaped opening. The...
- 5/19/2022
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Michelangelo Frammartino’s Il Buco (The Hole), co-written with Giovanna Giuliani, looks tenderly, elegantly, discerningly at humanity’s topsy-turvy preoccupations through the expert eye of the great cinematographer Renato Berta (an Alain Resnais regular). Bird sounds start the film, as we see the sky from below, from the perspective of a cave with a vaguely horseshoe-shaped opening.
Upside-down trees resemble the Alberi, men in traditional tree costumes, featured in Frammartino’s fabulous installation film which had its world premiere at MoMA PS1 during the Tribeca Film Festival in 2013, and where I first spoke to Michelangelo after being introduced by Artistic Director Frédéric Boyer at the reception. I mentioned to him then the art installation called Meeting by James Turrell, which consists of a waiting room with a hole in the ceiling from where one can observe the changes in the New York City sky as they happen approximately...
Upside-down trees resemble the Alberi, men in traditional tree costumes, featured in Frammartino’s fabulous installation film which had its world premiere at MoMA PS1 during the Tribeca Film Festival in 2013, and where I first spoke to Michelangelo after being introduced by Artistic Director Frédéric Boyer at the reception. I mentioned to him then the art installation called Meeting by James Turrell, which consists of a waiting room with a hole in the ceiling from where one can observe the changes in the New York City sky as they happen approximately...
- 5/16/2022
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Frammartino Digs Deep, But Barely Scratches the Surface
Michelangelo Frammartino’s Il Buco (“The Hole”) is a meditative journey into the center of the earth, replete with some of the year’s most gorgeous visuals and transportive sound design. The film recreates a real cave expedition in 1961, Calabria, Italy—observed by a weathered shepherd (Paolo Cossi) and his livestock, with whom he converses in guttural bursts that echo across the rocky hillsides.
Frammartino’s last feature was the quietly absorbing Le Quattro Volte (2011): unhurried, painterly cinema, much like Il Buco. For those who need drama, however, this intentionally opaque and plotless film may prove challenging: Frammartino—in tandem with cinematographer Renato Berta and sound designer Simone Paolo Olivero—delivers cinematic poetry … but ultimately, there’s more surface than depth.…...
Michelangelo Frammartino’s Il Buco (“The Hole”) is a meditative journey into the center of the earth, replete with some of the year’s most gorgeous visuals and transportive sound design. The film recreates a real cave expedition in 1961, Calabria, Italy—observed by a weathered shepherd (Paolo Cossi) and his livestock, with whom he converses in guttural bursts that echo across the rocky hillsides.
Frammartino’s last feature was the quietly absorbing Le Quattro Volte (2011): unhurried, painterly cinema, much like Il Buco. For those who need drama, however, this intentionally opaque and plotless film may prove challenging: Frammartino—in tandem with cinematographer Renato Berta and sound designer Simone Paolo Olivero—delivers cinematic poetry … but ultimately, there’s more surface than depth.…...
- 5/13/2022
- by Dylan Kai Dempsey
- IONCINEMA.com
Michelangelo Frammartino’s new feature, Il buco, is his first that can be rightfully labelled a period piece. Set in the early sixties, it reenacts a legendary caving expedition that saw a handful of young speleologists travel from Turin to Calabria and descend down the Bifurto Abyss—a 700 meters deep cave then thought to be the third largest on Earth. But the Italian director’s filmography (a protean body of work spanning shorts and three features) has always hailed from its own anachronistic planet, one where time seems to work differently—if it does work at all. His first two features were ostensibly set in the present, but the rural Calabria they immortalized looked like a universe telegraphed from the past. Ancestral rituals, slow-paced routines, and pastoral landscapes where humans are almost camouflaged against plants and animals; to be walking into Frammartino’s films is to experience a kind of temporal dissonance,...
- 5/12/2022
- MUBI
Paolo Sorrentino’s “The Hand of God” and Gabriele Mainetti’s “Freaks Out” lead the pack at the David di Donatello Awards this year with 16 nominations each.
Here’s the complete list of nominees:
Picture
“Ariaferma” (The Inner Cage), Leonardo Di Costanzo
“The Hand of God,” Paolo Sorrentino
“Ennio,” Giuseppe Tornatore
“Freaks Out,” Gabriele Mainetti
“Qui Rido Io” (The King of Laughter), Mario Martone
Director
“Ariaferma” (The Inner Cage), Leonardo Di Costanzo
“The Hand of God,” Paolo Sorrentino
“Ennio,” Giuseppe Tornatore
“Freaks Out,” Gabriele Mainetti
“Qui Rido Io” (The King of Laughter), Mario Martone
Debut Director
“The Bad Poet,” Gianluca Jodice
“Maternal,” Maura Delpero
“Small Body,” Laura Samani
“Re Granchio” (The Legend of King Crab), Alessio Rigo De Righi, Matteo Zoppis
“Una Femmina” (The Code of Silence), Francesco Constabile
Producer
“A Chiara,” Jon Coplon, Paolo Carpignano, Ryan Zacarias, Jonas Carpignano (Stayblack Productions) — Rai Cinema
“Ariaferma” (The Inner Cage), Carlo Cresto...
Here’s the complete list of nominees:
Picture
“Ariaferma” (The Inner Cage), Leonardo Di Costanzo
“The Hand of God,” Paolo Sorrentino
“Ennio,” Giuseppe Tornatore
“Freaks Out,” Gabriele Mainetti
“Qui Rido Io” (The King of Laughter), Mario Martone
Director
“Ariaferma” (The Inner Cage), Leonardo Di Costanzo
“The Hand of God,” Paolo Sorrentino
“Ennio,” Giuseppe Tornatore
“Freaks Out,” Gabriele Mainetti
“Qui Rido Io” (The King of Laughter), Mario Martone
Debut Director
“The Bad Poet,” Gianluca Jodice
“Maternal,” Maura Delpero
“Small Body,” Laura Samani
“Re Granchio” (The Legend of King Crab), Alessio Rigo De Righi, Matteo Zoppis
“Una Femmina” (The Code of Silence), Francesco Constabile
Producer
“A Chiara,” Jon Coplon, Paolo Carpignano, Ryan Zacarias, Jonas Carpignano (Stayblack Productions) — Rai Cinema
“Ariaferma” (The Inner Cage), Carlo Cresto...
- 4/30/2022
- by Nick Vivarelli
- Variety Film + TV
Ivana Miloš, History Lessons Bloom (2022), monotype and nature print with hydrangeas on paper, 33 x 24 cm.The Beauty Of Nascent REVOLUTIONThe wind blowing here will break their chains—Robert Desnos, Night of Loveless NightsA couple of years ago I almost visited the Villa Aldobrandini in Frascati near Rome. One of those unfortunate impulses sparked by unexpected pleasures had left me wanting for more after visiting the impressive Hadrian's Villa in Tivoli. To get there, I jumped on an old bus which took me to the 16th century countryside residence of the once powerful Aldobrandini family, who still own the villa and have only recently opened it to the public. It was quite common for rich citizens and especially clergymen to escape from the summer heat of Rome and build their decadent dream gardens in love with antiquity. Sitting on the bus, I noted down a recurring thought that had occupied my...
- 4/25/2022
- MUBI
Peter Kerekes’s “107 Mothers,” a Slovak drama about women living and working in a Ukrainian prison, won the Crystal Arrow Award at the 13th edition of Les Arcs European Film Festival.
The festival, which wrapped on Dec. 18, took place as an-person event with “The Artist” director Michel Hazanavicius presiding over the jury which also included actors Laetitia Dosch and Sidse Babett Knudsen, author Tania de Montaigne and actor-director Éric Judor. The selection was curated by Frederic Boyer, the artistic director of both Les Arcs and Tribeca.
Represented in international markets by Films Boutique, “107 Mothers” world premiered at Venice in the horizons section and revolves around the relationship between Leysa (Maryna Klimova), a new inmate who gives birth in prison, and Iryna (Iryna Kiryazeva), the prison’s ward.
The Grand Jury Price was awarded to “Kapitan Volkonogov,” a Russian historical thriller directed by Natasha Merkulova and Aleksey Chupov. The movie,...
The festival, which wrapped on Dec. 18, took place as an-person event with “The Artist” director Michel Hazanavicius presiding over the jury which also included actors Laetitia Dosch and Sidse Babett Knudsen, author Tania de Montaigne and actor-director Éric Judor. The selection was curated by Frederic Boyer, the artistic director of both Les Arcs and Tribeca.
Represented in international markets by Films Boutique, “107 Mothers” world premiered at Venice in the horizons section and revolves around the relationship between Leysa (Maryna Klimova), a new inmate who gives birth in prison, and Iryna (Iryna Kiryazeva), the prison’s ward.
The Grand Jury Price was awarded to “Kapitan Volkonogov,” a Russian historical thriller directed by Natasha Merkulova and Aleksey Chupov. The movie,...
- 12/19/2021
- by Elsa Keslassy
- Variety Film + TV
New York-based distribution company Grasshopper Film and Gratitude Films have jointly acquired U.S. distribution rights to Italian director Michelangelo Frammartino’s Venice Special Jury Prize winner “Il Buco,” about a group of speleologists who in 1961 discover Europe’s deepest cave.
The deal was negotiated by Ryan Krivoshey of Grasshopper Film with Nadine Rothschild of Paris and Berlin-based Coproduction Office on the eve of the U.S. premiere of “Il Buco” at the New York Film Festival.
Gratitude, which is based in Los Angeles and Mumbai, is headed by Anu Rangachar, a producer and the former programmer for the Mumbai Film Festival.
With “Il Buco” Frammartino, whose dialogue-free “Le Quattro Volte” made a global splash in 2010, has segued with another similarly eclectic pic that has no dialogue or music.
His latest work reconstructs the young cave scientists’ journey to explore the depth of the Bifurto Abyss, 700 meters below Earth in the pristine Calabrian hinterland.
The deal was negotiated by Ryan Krivoshey of Grasshopper Film with Nadine Rothschild of Paris and Berlin-based Coproduction Office on the eve of the U.S. premiere of “Il Buco” at the New York Film Festival.
Gratitude, which is based in Los Angeles and Mumbai, is headed by Anu Rangachar, a producer and the former programmer for the Mumbai Film Festival.
With “Il Buco” Frammartino, whose dialogue-free “Le Quattro Volte” made a global splash in 2010, has segued with another similarly eclectic pic that has no dialogue or music.
His latest work reconstructs the young cave scientists’ journey to explore the depth of the Bifurto Abyss, 700 meters below Earth in the pristine Calabrian hinterland.
- 10/10/2021
- by Nick Vivarelli
- Variety Film + TV
Caves… whence we came from––and for Italian auteur Michelangelo Frammartino’s latest work Il Buco––towards which we return. The fixation with caves and speleology in this film hint at the sometimes-regressive nature of that discipline. In human evolutionary terms, it’s like retracing one’s steps: going back towards the darkness, our primitive homes before homo sapiens could colonize other terrains. As a candidate for geographical mapping, is there such an urgent sense of utility? Cave complexes such as the Bifurto Abyss in southern Italy, depicted in this film, are a kind of anti-space, comparable to actual “outer space” in their inaccessibility and inhospitality to today’s humans.
But they also loom large in a strand of contemporary thinking and folklore, which Il Buco, in its rigorous and focused dramatization of a particular early-60s caving expedition, isn’t as interested in broaching. The cine-mad pop group Steely...
But they also loom large in a strand of contemporary thinking and folklore, which Il Buco, in its rigorous and focused dramatization of a particular early-60s caving expedition, isn’t as interested in broaching. The cine-mad pop group Steely...
- 9/15/2021
- by David Katz
- The Film Stage
Italian auteur Mario Martone is a Venice aficionado. He was recently in competition on the Lido in 2018 with “Capri Revolution,” and then again in 2019 with “The Mayor of Rione Sanità,” a contemporary adaptation of the play about organized crime by late Neapolitan playwright Eduardo De Filippo. The Naples native is vying for the Golden Lion this time with “The King of Laughter,” a historical drama about Neapolitan theater luminary Eduardo Scarpetta — played by Toni Servillo (“The Great Beauty”) — who was De Filippo’s father.
In 1904, at the height of his popularity, Scarpetta took a great risk: He staged a parody of “La figlia di Iorio,” a tragedy written by the greatest Italian poet of the day, Gabriele D’Annunzio. After all hell broke loose, Scarpetta ended up being sued for plagiarism by D’Annunzio himself. It was the beginning of the first copyright lawsuit in Italy, and a draining experience for Scarpetta and his family.
In 1904, at the height of his popularity, Scarpetta took a great risk: He staged a parody of “La figlia di Iorio,” a tragedy written by the greatest Italian poet of the day, Gabriele D’Annunzio. After all hell broke loose, Scarpetta ended up being sued for plagiarism by D’Annunzio himself. It was the beginning of the first copyright lawsuit in Italy, and a draining experience for Scarpetta and his family.
- 9/10/2021
- by Nick Vivarelli
- Variety Film + TV
To shoot Italian director Michelangelo Frammartino’s eclectic dialogue-free drama “Il Buco,” about a group of speleologists who in 1961 discover Europe’s deepest cave, veteran Swiss director of photography Renato Berta and Frammartino first had to do some soul searching.
“To prepare, with Michelangelo, we watched lots of movies together that we agreed and disagreed about,” he says. Then, after those discussions, “the photography came as a consequence.”
The ace cinematographer and bold experimenter, who has worked with European greats such as Jean-Luc Godard, Alain Resnais, Éric Rohmer, Manoel de Oliveira, and who lensed Louis Malle’s 1987 Venice Golden Lion winner “Au revoir les enfants,” had never grappled before with what Frammartino describes as “the challenge of this cave’s utter darkness.”
“But after shooting 120 movies I am not interested in doing the type of things I’ve done before,” Berta points out.
Set in the 1960s, “Il Buco” — which...
“To prepare, with Michelangelo, we watched lots of movies together that we agreed and disagreed about,” he says. Then, after those discussions, “the photography came as a consequence.”
The ace cinematographer and bold experimenter, who has worked with European greats such as Jean-Luc Godard, Alain Resnais, Éric Rohmer, Manoel de Oliveira, and who lensed Louis Malle’s 1987 Venice Golden Lion winner “Au revoir les enfants,” had never grappled before with what Frammartino describes as “the challenge of this cave’s utter darkness.”
“But after shooting 120 movies I am not interested in doing the type of things I’ve done before,” Berta points out.
Set in the 1960s, “Il Buco” — which...
- 9/9/2021
- by Nick Vivarelli
- Variety Film + TV
If we believe the adage that the wish to climb a mountain comes about just because it’s there, perhaps it follows, not to be too glib about it, that a cave explorer mapping a hole in the ground does so because it’s not. Notions of absence — not just of solid ground, but of light and of life — as well as oppositions of up and down, ephemeral and eternal, high and low, infuse Michelangelo Frammartino’s “Il Buco” (“The Hole”), a docufiction that tenderly, wordlessly and rather too obliquely recreates a 1961 speleological expedition to measure the depth of an unexplored crevasse in Italy’s Calabria region.
As the first beautiful image, in a film composed entirely of beautiful images, fades slowly in, lagging behind the sound of chirruping crickets that faintly echo down from above, it’s like having your eyes adjust to sudden darkness. We are inside the hole,...
As the first beautiful image, in a film composed entirely of beautiful images, fades slowly in, lagging behind the sound of chirruping crickets that faintly echo down from above, it’s like having your eyes adjust to sudden darkness. We are inside the hole,...
- 9/4/2021
- by Jessica Kiang
- Variety Film + TV
The Italian director’s third, as yet untitled feature, was shot in one of the world’s deepest caves.
Lucky Red has snapped up Italian rights to Michelangelo Frammartino’s third feature (which is currently untitled) from Coproduction Office.
In post-production, it’s the director’s first film since The Four Times which premiered in Directors’ Fortnight in 2010.
Set in southern Italy, the film has been shot under extreme conditions, in one of the deepest caves in the world – 700 metres below the earth. It tells the story of how, in August 1961, speleologists from Italy’s north arrived on a Calabrian...
Lucky Red has snapped up Italian rights to Michelangelo Frammartino’s third feature (which is currently untitled) from Coproduction Office.
In post-production, it’s the director’s first film since The Four Times which premiered in Directors’ Fortnight in 2010.
Set in southern Italy, the film has been shot under extreme conditions, in one of the deepest caves in the world – 700 metres below the earth. It tells the story of how, in August 1961, speleologists from Italy’s north arrived on a Calabrian...
- 7/11/2021
- by Geoffrey Macnab
- ScreenDaily
There is a whole lot going on in Vanaprastham and it is up to the viewer as to how deep he wants to get into and enjoy the rewards. The title alludes to the last phase of a Vedic human life which is supposed to be spent in the forest seeking moksha (salvation). Its premiere at Cannes film festival followed by many other film festivals and awards are evidence to the collaboration and creativity that went into making it.
Kunjikutan (Mohanlal) is a Kathakali dancer who has been gaining popularity and is even been referred to as ‘Asaan’ (Expert) by his well-wishers. He has been learning the art form as a boy and everyone around him including his teacher are convinced of this skill. His marriage is on the rocks and his unmarried mother also reminds him of the childhood he had to endure. As he becomes more and more popular,...
Kunjikutan (Mohanlal) is a Kathakali dancer who has been gaining popularity and is even been referred to as ‘Asaan’ (Expert) by his well-wishers. He has been learning the art form as a boy and everyone around him including his teacher are convinced of this skill. His marriage is on the rocks and his unmarried mother also reminds him of the childhood he had to endure. As he becomes more and more popular,...
- 1/30/2021
- by Arun Krishnan
- AsianMoviePulse
Awards ceremony will take place on January 19, 2021.
Italian director Filippo Meneghetti’s debut feature Two Of Us leads the nominations in the 26th edition of France’s Lumière awards, which were unveiled online today (December 14).
The awards, which are voted on by some 130 international correspondents hailing from 40 countries, are France’s equivalent of the Golden Globes.
In spite of the Covid-19 pandemic, which has delayed numerous releases this year, they have retained their traditional time slot and the awards ceremony will take place on January 19, 2021, in line with previous years.
Meneghetti’s Two Of Us is also France’s submission...
Italian director Filippo Meneghetti’s debut feature Two Of Us leads the nominations in the 26th edition of France’s Lumière awards, which were unveiled online today (December 14).
The awards, which are voted on by some 130 international correspondents hailing from 40 countries, are France’s equivalent of the Golden Globes.
In spite of the Covid-19 pandemic, which has delayed numerous releases this year, they have retained their traditional time slot and the awards ceremony will take place on January 19, 2021, in line with previous years.
Meneghetti’s Two Of Us is also France’s submission...
- 12/14/2020
- by Melanie Goodfellow
- ScreenDaily
The 2020 special edition of the Locarno Film Festival, deemed For the Future of Films, gathers audiences in both virtual and physical space. At the center of this year's festival are 20 suspended projects, each halted in some way by the Covid-19 pandemic, that will compete in the The Films After Tomorrow section. From Lisandro Alonso and Miguel Gomes to Lav Diaz and Lucrecia Martel, these 22 filmmakers have also joined together to handpick twenty films from previous editions of the festival. The program, A Journey in the Festival's History, is an anthology of timeless films from Locarno's past (from 1948 to 2019) that reflect the festival's spirit of discovery and celebration of stylistic breakthrough. Mubi is immensely proud to be partnering with the festival to make these selections available for streaming outside Switzerland. Below, the directors have shared some words about their inspired choices. Wang Bing on Horse MoneyPedro Costa’s films explore...
- 8/12/2020
- MUBI
Philippe Garrel’s modus operandi since 2013’s Jealousy has been unfussy, melancholic, black-and-white tales of Parisian men in the throes of romance, typically under 75 minutes. His latest, The Salt of Tears, which played in competition at the Berlin Film Festival, stretches to 100 minutes, but retains much of the lo-fi monochrome aesthetic, here centering on a cocky, shaggily attractive 20-something whose predilection for spurning women won’t win admirers from the MeToo generation.
But The Salt of Tears, with its title that sounds like a philosophical tract by Sartre, is a distant, ruminative film that refrains from wallowing in snide judgments of its characters. Perhaps to its fault, it’s a sober, adult, sincere film that seeks to consider some truth of the fallacy present in all human relationships.
The story follows trainee carpenter Luc through a trio of romantic misadventures, as he moves from the French countryside for something akin to a sentimental Parisian education.
But The Salt of Tears, with its title that sounds like a philosophical tract by Sartre, is a distant, ruminative film that refrains from wallowing in snide judgments of its characters. Perhaps to its fault, it’s a sober, adult, sincere film that seeks to consider some truth of the fallacy present in all human relationships.
The story follows trainee carpenter Luc through a trio of romantic misadventures, as he moves from the French countryside for something akin to a sentimental Parisian education.
- 3/21/2020
- by Ed Frankl
- The Film Stage
One bold gesture the new Berlinale team has made at the festival this year is to put Philippe Garrel back in competition. His last two movies, small films with grand sensitivity, have premiered at the Directors’ Fortnight in Cannes, a fitting place for their discretion but not necessarily the director’s stature. His new film, The Salt of Tears, is no different in scale, effectively embracing cinema’s affinity for, in literary terms, short stories rather than novels. Like his last film, Lover for a Day, we find Garrel channeling the energy of young actors cast mostly from the acting classes he teaches to bring a light-footed freshness to his atmosphere and storytelling. And like his two most recent films, it has a swift, sketch-like quality that sometimes works well and sometimes doesn’t with the film’s essentially fable-like, rather than realistic storytelling. This friction between the exactitude required...
- 2/24/2020
- MUBI
Handsome twentysomething Luc is a trainee joiner, a craft inherited from his doting single dad: a man at once proud of his son’s continuation of their trade, and hopeful that he’ll do something greater with it. When Luc asks his father if he ever wanted to design furniture rather than simply build it, the reply is simple and resigned: “It’s all been done already.” Six decades and 28 features into his career, French writer-director Philippe Garrel seems to be saying something similar with his latest, “The Salt of Tears”: A minor romantic roundelay that deviates little from the essential template of his last three films, it’s very much the work of an artist less preoccupied with innovation than with signature craftsmanship.
Which is not to say “The Salt of Tears,” even within its narrow bracket of ambition, is an especially careful or well-turned example of Garrel’s form.
Which is not to say “The Salt of Tears,” even within its narrow bracket of ambition, is an especially careful or well-turned example of Garrel’s form.
- 2/22/2020
- by Guy Lodge
- Variety Film + TV
It takes a few beats to get through the quaint setup in “The Salt of Tears” and recognize its protagonist is an asshole. That’s Luc (sullen newcomer Logann Antuofermo), the young aspiring cabinetmaker at the center of French director Philippe Garrel’s latest stab at generational angst and ill-fated love. Over the course of this spry black-and-white sketch of a movie, Luc seduces one woman, rekindles love with another, and rejects them both for a third before everything finally collapses on top of him. There’s not a lot of sophistication to Luc’s arc, as his self-centered universe of problems accelerates to grating extremes, but
Few filmmakers have held as tight to their themes as Garrel, who has cranked out intimate portraits of young men doomed by delusions of romantic grandeur for decades. Though the filmmaker technically completed his so-called “trilogy of love” with 2017’s “Lover for a Day,...
Few filmmakers have held as tight to their themes as Garrel, who has cranked out intimate portraits of young men doomed by delusions of romantic grandeur for decades. Though the filmmaker technically completed his so-called “trilogy of love” with 2017’s “Lover for a Day,...
- 2/22/2020
- by Eric Kohn
- Indiewire
#14. Il Buco / The Hole
It’s been a full decade without a new narrative feature from Italy’s Michelangelo Frammartino, whose Le Quattro Volte was one of 2010’s most notable films. After spending years developing a project called Late Spring, which was said to be a Pinocchio-like fantasy told in reverse, this past September Frammartino finally commenced a new project, Il Buco (The Hole), a period piece on some noted spelunkers, lensed by famed Dp Renato Berta.…...
It’s been a full decade without a new narrative feature from Italy’s Michelangelo Frammartino, whose Le Quattro Volte was one of 2010’s most notable films. After spending years developing a project called Late Spring, which was said to be a Pinocchio-like fantasy told in reverse, this past September Frammartino finally commenced a new project, Il Buco (The Hole), a period piece on some noted spelunkers, lensed by famed Dp Renato Berta.…...
- 1/3/2020
- by Nicholas Bell
- IONCINEMA.com
Le sel des larmes
2020 will see the premiere of the 27th feature by French auteur Philippe Garrel with The Salt of Tears, which reunites him with scribes Jean-Claude Carriere and Arlette Langmann. Dp Renato Berta (who lensed Garrel’s last two feature) is on board, as is producer Edouard Weil (who previously produced A Burning Hot Summer and Frontier of Dawn for the director). Garrel’s youthful cast consists of Louise Chevillotte (who made her debut in Lover for a Day and has since starred in Nadav Lapid’s Synonyms and Verhoeven’s upcoming Benedetta), Oulaya Amamra (Cesar winner for 2017’s Divines), Souheila Yacoub, Andre Wilms and newcomer Logann Antuofermo.…...
2020 will see the premiere of the 27th feature by French auteur Philippe Garrel with The Salt of Tears, which reunites him with scribes Jean-Claude Carriere and Arlette Langmann. Dp Renato Berta (who lensed Garrel’s last two feature) is on board, as is producer Edouard Weil (who previously produced A Burning Hot Summer and Frontier of Dawn for the director). Garrel’s youthful cast consists of Louise Chevillotte (who made her debut in Lover for a Day and has since starred in Nadav Lapid’s Synonyms and Verhoeven’s upcoming Benedetta), Oulaya Amamra (Cesar winner for 2017’s Divines), Souheila Yacoub, Andre Wilms and newcomer Logann Antuofermo.…...
- 1/3/2020
- by Nicholas Bell
- IONCINEMA.com
The new feature from the director of Le quattro volte is now filming in Pollino National Park. A co-production between Italy, France and Germany, with Renato Berta as director of photography. In Pollino National Park, in Calabria, Italian director Michelangelo Frammartino is currently shooting his new feature film, Il buco (English translation: The Hole). The film relates the extraordinary adventure of the young members of the Piedmont Speleological Group who, having already explored all the caves of Northern Italy, changed course in August 1961 and went South to explore other caves unknown to man, plunging into the underground of a region abandoned by all. In the Pollino, a mountainous range on the border between Calabria and Basilicata with inaccessible peaks of immaculate beauty, these very young speleologists, descending into the darkness of the earth, discovered the world’s second deepest cave, the Bifurto Abyss. The actors...
French director Philippe Garrel has always only needed the barest means to make movie magic: a beautiful, tragic face, a sad wall to put behind it, a mournful, pensive walk alone on the street. His latest film premiered last year in Cannes at the Directors’ Fortnight; having first shown his work there in 1969 with Le lit de la vierge, Garrel once again proves he is nearly alone in continuing the French New Wave’s revolution of creating celluloid myths from mere bedrooms and cafes. This new film, Lover for a Day is one of his most simple, a lithe, splendid picture dazzling in its clarity, direct emotional resonance and condensed storytelling. The set-up, co-written with Garrel’s partner Caroline Deruas-Garrel and his usual writer Arlette Langmann along with Jean-Claude Carrière, is inspired: A young woman, Jeanne breaks up with her boyfriend and must stay at the flat of his father,...
- 4/24/2018
- MUBI
Mubi has struck gold once again.
After years of being best known as an art house alternative to the bloated, insufferable media streaming services like Netflix, Mubi has slowly but surely increased their foothold in the theatrical distribution game, gunning for a seat at that hotly contested table as well. Be it nabbing the UK theatrical rights to Miguel Gomes’ masterpiece Arabian Nights or coming stateside with 2016’s Baden Baden, the company has not only curated an expert streaming service but gotten into business with some of the most interesting and exciting voices in the film world today.
Director Philippe Garrel is the latest to join these ranks. Following up his 2016 masterpiece In The Shadow Of Women, Garrel has returned with a new, equally moving look at modern love and romance, Lover For A Day. Starring his daughter Esther Garrel (who is low key a highlight of Call Me By Your Name,...
After years of being best known as an art house alternative to the bloated, insufferable media streaming services like Netflix, Mubi has slowly but surely increased their foothold in the theatrical distribution game, gunning for a seat at that hotly contested table as well. Be it nabbing the UK theatrical rights to Miguel Gomes’ masterpiece Arabian Nights or coming stateside with 2016’s Baden Baden, the company has not only curated an expert streaming service but gotten into business with some of the most interesting and exciting voices in the film world today.
Director Philippe Garrel is the latest to join these ranks. Following up his 2016 masterpiece In The Shadow Of Women, Garrel has returned with a new, equally moving look at modern love and romance, Lover For A Day. Starring his daughter Esther Garrel (who is low key a highlight of Call Me By Your Name,...
- 1/26/2018
- by Joshua Brunsting
- CriterionCast
It’s beginning to look a lot like fall festival season. On the heels of announcements from Tiff and Venice, the 55th edition of the New York Film Festival has unveiled its Main Slate, including a number of returning faces, emerging talents, and some of the most anticipated films from the festival circuit this year.
This year’s Main Slate showcases a number of films honored at Cannes including Ruben Östlund’s Palme d’Or–winner “The Square,” Robin Campillo’s “Bpm,” and Agnès Varda & Jr’s “Faces Places.” Other Cannes standouts, including “The Rider” and “The Florida Project,” will also screen at Nyff.
Read MoreTIFF Reveals First Slate of 2017 Titles, Including ‘The Shape of Water,’ ‘Downsizing,’ and ‘Call Me By Your Name’
Elsewhere, Aki Kaurismäki’s Silver Bear–winner “The Other Side of Hope” and Agnieszka Holland’s Alfred Bauer Prize–winner “Spoor” come to Nyff after Berlin bows.
This year’s Main Slate showcases a number of films honored at Cannes including Ruben Östlund’s Palme d’Or–winner “The Square,” Robin Campillo’s “Bpm,” and Agnès Varda & Jr’s “Faces Places.” Other Cannes standouts, including “The Rider” and “The Florida Project,” will also screen at Nyff.
Read MoreTIFF Reveals First Slate of 2017 Titles, Including ‘The Shape of Water,’ ‘Downsizing,’ and ‘Call Me By Your Name’
Elsewhere, Aki Kaurismäki’s Silver Bear–winner “The Other Side of Hope” and Agnieszka Holland’s Alfred Bauer Prize–winner “Spoor” come to Nyff after Berlin bows.
- 8/8/2017
- by Kate Erbland
- Indiewire
French director Philippe Garrel has always only needed the barest means to make movie magic: a beautiful, tragic face, a sad wall to put behind it, a mournful, pensive walk alone on the street. He is back in Cannes at the Directors’ Fortnight, having first come in 1969 with Le lit de la vierge, and once again proves he is nearly alone is continuing the French New Wave’s revolution of creating celluloid myths from mere bedrooms and cafes. Lover for a Day, his newest, one of his most simple, is a lithe, splendid picture, dazzling in its clarity, direct emotional resonance and condensed storytelling. The set-up, co-written with Garrel’s partner Caroline Deruas-Garrel and his usual writer Arlette Langmann, along with Jean-Claude Carrière, is inspired: A young woman, Jeanne (Garrel’s daughter, Esther) breaks up with her boyfriend and must stay at the flat of his father, Gilles (Éric Caravaca), who,...
- 5/22/2017
- MUBI
Philippe Garrel, the 69-year-old veteran of the French New Wave, has produced a casual, bittersweet, and intoxicating study of relationships in flux starring his daughter Esther. In this swift, touching ode to lovers with heart-breaking, irreconcilable differences, the drama appears conventional on first glance, featuring that older-man-younger-women relationship frustratingly perennial in French art cinema, but this is a work of rare clarity by a director whose experience shows.
Completing a trilogy of sorts alongside fellow black-and-white dramas Jealousy and In The Shadow of Women, each clocking in at under 80 minutes, Lover for a Day (L’Amant d’un Jour) is a tale of dichotomies: loyalty to lovers compared with being faithful to yourself; young, optimistic love versus mature unsentimental love; animalistic craving for sex against the hard graft of being active in loving relationships. Garrel has said the film is in part his reflection on Freud’s Elektra complex, and...
Completing a trilogy of sorts alongside fellow black-and-white dramas Jealousy and In The Shadow of Women, each clocking in at under 80 minutes, Lover for a Day (L’Amant d’un Jour) is a tale of dichotomies: loyalty to lovers compared with being faithful to yourself; young, optimistic love versus mature unsentimental love; animalistic craving for sex against the hard graft of being active in loving relationships. Garrel has said the film is in part his reflection on Freud’s Elektra complex, and...
- 5/20/2017
- by Ed Frankl
- The Film Stage
I'm drawn to Straub-Huillet’s usage of direct quotations rather than adapting or interpreting original material for a film. To me this is, among other things, a very straightforward and concrete way of highlighting that people are much less original than they are often assumed to be. (I think that Danièle Huillet once said this, but she was certainly not the first one.) It might be worth being reminded of this, especially today, in a time where we see and seek constant innovation and renewal everywhere while nothing really changes at the core. But for Straub-Huillet, quotation is also about something else. Every film of theirs is a documentation of their loving relationship to a preexisting text, artwork, or artist. The films are more genuinely about the work of the other and less about the couple's so-called vision. Quotation, to Straub-Huillet, is an act of respect, one...
- 2/7/2017
- MUBI
Philippe Garrel’s In The Shadow of Women is his Jacques Rivette film: a work of masks, intrigues, labyrinthine deceptions and power games...but applied to the most intimate of relationships. So too is it thus a 69 minute long miracle of economy: We will see the meanings of these frames later. As Garrel says in his press conference: "For me, In The Shadow of Women is a film about the equality of men and women in as far as cinema can achieve this."And insofar as it is a meditation on equality between men and women, it too is also in dialogue with cinema itself.“...a history of cinema as communication between man and woman.” – Garrel, New York 2015 A good alternate title would be: Now, how do we get from point A to point B? “I also use images from my dreams. I am looking for a form of oneirism...
- 1/25/2016
- by Neil Bahadur
- MUBI
Criterion digitally restores its previous edition of Alain Resnais’ landmark directorial debut, Hiroshima Mon Amour, a jagged cornerstone of the French New Wave, which forever associated the reluctant auteur with one of the most acclaimed cinematic movements to date. Roughly preceding the renowned debut of Jean-Luc Godard and released the same month as Francois Truffaut’s The 400 Blows (they competed against one another at Cannes), Resnais’ contribution changed the way we regarded linear narrative and flashback sequences, and much like those iconic works of his peers, now bears several decades worth of critical acclaim on its shoulders. Tragic, moody and ultimately a poetic exchange of present interludes shattered by ghosts of the recent past, Resnais begins with motifs he would remain fascinated with throughout his career, the nature of remembrance and recollection, instances as shattered as the narrative chronologies in his films.
Fourteen years after the atomic bomb laid waste to Hiroshima,...
Fourteen years after the atomic bomb laid waste to Hiroshima,...
- 7/14/2015
- by Nicholas Bell
- IONCINEMA.com
Masculine/Feminine: Garrel Offers Yet Another Take On A Romantic Rift
As we see with many so-called auteurs, Philippe Garrel has been making the same film over and again throughout his entire career. In addition to his mastery of tone and a bold willingness to scrape the sewers of the most despairing regions of his ego, the secret to his work’s sustainability has laid in the subtle variations on his signature themes, which give depth and even warmth to otherwise arguably cliched takes on male/female power dynamics. In the Shadow of Women, then, represents a reduction of the intimate concerns that have preoccupied his last few films to an essential state. This yielded a lighter than usual black romantic comedy, but one that carries forward the Late Garrel optimism that was signaled in Jealousy (2013)–ironic, since these films were both motivated by the deaths of his father and mother.
As we see with many so-called auteurs, Philippe Garrel has been making the same film over and again throughout his entire career. In addition to his mastery of tone and a bold willingness to scrape the sewers of the most despairing regions of his ego, the secret to his work’s sustainability has laid in the subtle variations on his signature themes, which give depth and even warmth to otherwise arguably cliched takes on male/female power dynamics. In the Shadow of Women, then, represents a reduction of the intimate concerns that have preoccupied his last few films to an essential state. This yielded a lighter than usual black romantic comedy, but one that carries forward the Late Garrel optimism that was signaled in Jealousy (2013)–ironic, since these films were both motivated by the deaths of his father and mother.
- 5/16/2015
- by admin
- IONCINEMA.com
Down the couture-chain outdoor mall of the Croisette, the Directors' Fortnight opened with French intimist Philippe Garrel's In the Shadow of Women, of which Marie-Pierre has already written. It is one of a set of films by major filmmakers, the others being Arnaud Deplechin and Miguel Gomes, seemingly passed over by the Official Selection of the Festival de Cannes and promptly scooped up by the festival's unpredictable and often more rewarding younger brother. As if to underscore the difference between these two strands—in fact, separate festivals in the same city at the same time—the Fortnight preceded Garrel's new feature with an old short of his, a moving, on-the-ground actuality from the May '68 protests in Paris. Actua 1 is, in the director's words, a kind of "revenge on the news," that is, on the conservative newsreels seen in cinema's at the time. The prescience of the images, the danger they contain,...
- 5/15/2015
- by Daniel Kasman
- MUBI
This year's poster for the Vienna International Film Festival is of a flame, and while around the world in other cinema-loving cities and at other cinema-loving festivals one might that that as a cue for a celluloid immolation and a move forever to digital, here in Austria cinema and film as film aren't burning up but rather are burning brightly.
The tributes and special programs in artistic director Hans Hurch's 2014 edition make this position clear: John Ford, Harun Farocki and 16mm, with new films by Tariq Teguia, Jean-Luc Godard, and Jean-Marie Straub accompanying older ones by the same directors. These aren't just retrospectives, they are revitalizing redoubts, inexhaustible fountains of flame, of sensitivity, of consciousness, and of intervention. With such a profound retrospective program, I hope you'll forgive me telling you very little of anything new at the festival; unless, that is, you like me count cinema revived as something always new.
The tributes and special programs in artistic director Hans Hurch's 2014 edition make this position clear: John Ford, Harun Farocki and 16mm, with new films by Tariq Teguia, Jean-Luc Godard, and Jean-Marie Straub accompanying older ones by the same directors. These aren't just retrospectives, they are revitalizing redoubts, inexhaustible fountains of flame, of sensitivity, of consciousness, and of intervention. With such a profound retrospective program, I hope you'll forgive me telling you very little of anything new at the festival; unless, that is, you like me count cinema revived as something always new.
- 11/12/2014
- by Daniel Kasman
- MUBI
The Shadow Knows: Oliveira’s latest a Stringent Meditation on Sacrifice
Inevitably, any discussion pertaining to recent work from Portuguese director Manoel de Oliviera will make mention of the fact that he’s currently the world’s oldest filmmaker at the age of 105. He shows little sign of slowing down, with a short film currently in development and another feature he’s currently trying to fund. After playing the festival circuit in 2012, his latest, Gebo and the Shadow, is an adaptation of a stage play by Raul Brandao, finally landing in theaters, though playing solely in one theater in New York City. It’s a pity it won’t have a wider platform, considering the film’s rather ascetic beauty as well as its bleak examination of poverty and familial sacrifices, made all the more accessible (at least compared to his last effort, 2010’s The Strange Case of Anjelica) with iconic actors like Michael Lonsdale,...
Inevitably, any discussion pertaining to recent work from Portuguese director Manoel de Oliviera will make mention of the fact that he’s currently the world’s oldest filmmaker at the age of 105. He shows little sign of slowing down, with a short film currently in development and another feature he’s currently trying to fund. After playing the festival circuit in 2012, his latest, Gebo and the Shadow, is an adaptation of a stage play by Raul Brandao, finally landing in theaters, though playing solely in one theater in New York City. It’s a pity it won’t have a wider platform, considering the film’s rather ascetic beauty as well as its bleak examination of poverty and familial sacrifices, made all the more accessible (at least compared to his last effort, 2010’s The Strange Case of Anjelica) with iconic actors like Michael Lonsdale,...
- 6/11/2014
- by Nicholas Bell
- IONCINEMA.com
Director worked on more than 80 pictures in prolific career.
Swiss-born cinematographer Carlo Varini, best known for The Chorus, The Big Blue and Subway, has died in a house fire.
The 67-year-old cinematographer, who shot more than 80 pictures throughout his career, started out as a calibrator at the Schwarz-Film laboratory in Berne.
After cinema studies at the Zurich University of Arts he became a news cameraman, moving into fiction as the assistant cameraman of celebrated Italian cinematographer Renato Berta.
He branched out on his own in the early 1980s to work with Luc Besson on his early features The Last Combat, Subway and The Big Blue. He was nominated for a Cesar for the latter two.
More recently, he gained recognition for his work on Christophe Barratier’s The Choir for which he was nominated for Camerimage’s Golden Frog alongside Dominique Gentil.
He was due to work on Canadian director Francesco Lucente’s upcoming feature Starbright.
According...
Swiss-born cinematographer Carlo Varini, best known for The Chorus, The Big Blue and Subway, has died in a house fire.
The 67-year-old cinematographer, who shot more than 80 pictures throughout his career, started out as a calibrator at the Schwarz-Film laboratory in Berne.
After cinema studies at the Zurich University of Arts he became a news cameraman, moving into fiction as the assistant cameraman of celebrated Italian cinematographer Renato Berta.
He branched out on his own in the early 1980s to work with Luc Besson on his early features The Last Combat, Subway and The Big Blue. He was nominated for a Cesar for the latter two.
More recently, he gained recognition for his work on Christophe Barratier’s The Choir for which he was nominated for Camerimage’s Golden Frog alongside Dominique Gentil.
He was due to work on Canadian director Francesco Lucente’s upcoming feature Starbright.
According...
- 5/22/2014
- ScreenDaily
Surprise choice for Golden Lion is Italian documentary. Silver Lion for best director goes to Alexandros Avranas for Miss Violence.
The surprise winner of the Venice Golden Lion is Gianfranco Rosi’s Italian documentary Sacro Gra, about life on the highway that surrounds Rome.
It marks the first time a documentary has ever won the Golden Lion.
Greek film Miss Violence had a strong showing winning both best director for Alexandros Avranas and best actor for Themis Panou.
Review: Sacro Grareview: Miss Violence
The Venezia 70 Jury, chaired by Bernardo Bertolucci and comprised of Andrea Arnold, Renato Berta, Carrie Fisher, Martina Gedeck, Jiang Wen, Pablo Larraín, Virginie Ledoyen, Ryuichi Sakamoto has awarded the following prizes:
Main Competition Awards
Golden Lion for Best Film
Sacro Gra, Gianfranco Rosi (Italy, France)
Silver Lion for Best Director
Alexandros Avranas, Miss Violence (Greece)
Grand Jury Prize
Jiaoyou, Tsai Ming-liang (Chinese Taipei, France)Best Actor: Themis Panou, Miss ViolenceBest...
The surprise winner of the Venice Golden Lion is Gianfranco Rosi’s Italian documentary Sacro Gra, about life on the highway that surrounds Rome.
It marks the first time a documentary has ever won the Golden Lion.
Greek film Miss Violence had a strong showing winning both best director for Alexandros Avranas and best actor for Themis Panou.
Review: Sacro Grareview: Miss Violence
The Venezia 70 Jury, chaired by Bernardo Bertolucci and comprised of Andrea Arnold, Renato Berta, Carrie Fisher, Martina Gedeck, Jiang Wen, Pablo Larraín, Virginie Ledoyen, Ryuichi Sakamoto has awarded the following prizes:
Main Competition Awards
Golden Lion for Best Film
Sacro Gra, Gianfranco Rosi (Italy, France)
Silver Lion for Best Director
Alexandros Avranas, Miss Violence (Greece)
Grand Jury Prize
Jiaoyou, Tsai Ming-liang (Chinese Taipei, France)Best Actor: Themis Panou, Miss ViolenceBest...
- 9/7/2013
- ScreenDaily
Surprise choice for Golden Lion is Italian documentary. Silver Lion for best director goes to Alexandros Avranas for Miss Violence.
The surprise winner of the Venice Golden Lion is Gianfranco Rosi’s Italian documentary Sacro Gra, about life on the highway that surrounds Rome.
Greek film Miss Violence had a strong showing winning both best director for Alexandros Avranas and best actor for Themis Panou.
The Venezia 70 Jury, chaired by Bernardo Bertolucci and comprised of Andrea Arnold, Renato Berta, Carrie Fisher, Martina Gedeck, Jiang Wen, Pablo Larraín, Virginie Ledoyen, Ryuichi Sakamoto has awarded the following prizes
Main Competition Awards
Golden Lion for Best Film
Sacro Gra by Gianfranco Rosi (Italy, France)
Silver Lion for Best Director
Alexandros Avranas for Miss Violence (Greece)
Grand Jury Prize
Jiaoyou by Tsai Ming-liang (Chinese Taipei, France)
Coppa Volpi for Best Actor
Themis Panou in Miss Violence
Coppa Volpi for Best Actress
Elena Cotta inVIA Castellana Bandiera by Emma Dante (Italy, Switzerland...
The surprise winner of the Venice Golden Lion is Gianfranco Rosi’s Italian documentary Sacro Gra, about life on the highway that surrounds Rome.
Greek film Miss Violence had a strong showing winning both best director for Alexandros Avranas and best actor for Themis Panou.
The Venezia 70 Jury, chaired by Bernardo Bertolucci and comprised of Andrea Arnold, Renato Berta, Carrie Fisher, Martina Gedeck, Jiang Wen, Pablo Larraín, Virginie Ledoyen, Ryuichi Sakamoto has awarded the following prizes
Main Competition Awards
Golden Lion for Best Film
Sacro Gra by Gianfranco Rosi (Italy, France)
Silver Lion for Best Director
Alexandros Avranas for Miss Violence (Greece)
Grand Jury Prize
Jiaoyou by Tsai Ming-liang (Chinese Taipei, France)
Coppa Volpi for Best Actor
Themis Panou in Miss Violence
Coppa Volpi for Best Actress
Elena Cotta inVIA Castellana Bandiera by Emma Dante (Italy, Switzerland...
- 9/7/2013
- ScreenDaily
Italian actress Claudia Cardinale to be guest host for the section at the 70th Venice International Film Festival where William Friedkin will receive a lifetime achievement honour.
Claudia Cardinale, best known for roles in Once Upon a Time in the West and Fellini’s 8 ½, is to be the guest host of Venezia Classici, the section devoted to restored films and to documentaries about cinema of the 70th Venice International Film Festival (August 28 – September 7.
The section, introduced last year, features a selection of classic film restorations completed over the past year by film libraries, cultural institutions or production companies around the world.
Cardinale will attend the screening of Vaghe stelle dell’Orsa, Luchino Visconti’s 1965 film in which she starred that won the Golden Lion at the 30th Viff and has been restored by Sony Pictures Entertainment.
It is is one of the four classics restored this year that has been conserved at the Historic Archives of the...
Claudia Cardinale, best known for roles in Once Upon a Time in the West and Fellini’s 8 ½, is to be the guest host of Venezia Classici, the section devoted to restored films and to documentaries about cinema of the 70th Venice International Film Festival (August 28 – September 7.
The section, introduced last year, features a selection of classic film restorations completed over the past year by film libraries, cultural institutions or production companies around the world.
Cardinale will attend the screening of Vaghe stelle dell’Orsa, Luchino Visconti’s 1965 film in which she starred that won the Golden Lion at the 30th Viff and has been restored by Sony Pictures Entertainment.
It is is one of the four classics restored this year that has been conserved at the Historic Archives of the...
- 7/15/2013
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
The first-ever manufacturer of light bulbs in Portugal, Manoel de Oliveira’s father died in 1932, nine years after Raul Brandão wrote a play called Gebo and the Shadow. In the year 2012 Oliveira turned the play into a film, making a grimy, dim oil lamp its legitimate character: elderly accountant Gebo burns the midnight oil in it as he plods away at his books. In an early scene, meanwhile, his wife lights the lanterns outside their house with a match. No one seems yet to have heard of electricity; the time setting is unclear; presumably, it’s the turn of the century.
Presumably. Oliveira’s Benilde, or The Virgin Mother (1975) opens with a title-card of this word to gradually lure us into a province of utter chronological disorder. This very same word has ever since been unchallenged as the most accurate description of the bizarre, atemporal effect that grows stronger in each subsequent Oliveira film.
Presumably. Oliveira’s Benilde, or The Virgin Mother (1975) opens with a title-card of this word to gradually lure us into a province of utter chronological disorder. This very same word has ever since been unchallenged as the most accurate description of the bizarre, atemporal effect that grows stronger in each subsequent Oliveira film.
- 11/18/2012
- by Boris Nelepo
- MUBI
This film from late in the career of revered French director Louis Malle deals with a haunting episode from his childhood. He was at a Catholic boarding school during the German occupation of France and witnessed several Jewish students being sent off to the concentration camps. One of them was a close friend. It's harrowing enough stuff to make cinema out of without the added realization that Malle is having some sort of catharsis by sharing his own history with us. Taken in that context Au Revoir Les Infants may simply be too powerful for some. This excellent looking Bluray has been restored by the film's Dp Renato Berta and contains the original mono soundtrack. There are interview with Malle's biographer and widow as well...
- 3/25/2011
- Screen Anarchy
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