Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale
Article by: Elena Golzio
Translation by: Federica Betti, Ilaria Loiacono
Sadness and loneliness are the denominators in common of Betty and Danny, the two main characters of the movie.
Betty is an overweight girl that works in a permanently empty mall of the ‘60s as night security guard.
Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale
Article by: Andrea Bagnasco
Translation by: Silvia Cometti, Miriam Todesco
When watching an eight-hour movie, the story starts vanishing in one’s mind, what one remembers of the past gets blurred, preventing him from linking all the points, what one may think about the future becomes little by little unsure and one finds himself lost, tightly attached to the present and to this monumental film by Lav Diaz.
Continua la lettura di “Hele sa hiwagang hapis” (“A Lullaby to the Sorrowful Mystery”) by Lav Diaz
Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale
Article by: Matteo Ambrosino
Translation by: Riccardo Abba, Barbara Lisè
Ilegitim is a film directed by the Romanian filmmaker Adrian Sitaru, it was presented at Berlin Film Festival and won the Golden Duke at Odessa Film Festival. The film portrays with great sensitivity the subject of incest between twin brother and sister.
The movie, a collective and domestic drama, revolves around Victor, a widowed doctor with a lumbering past as an antiabortionist whistle-blower during the dictatorship. A severe guilt that breaks the family apart when, during a dinner, the truth emerges: Victor allegedly impeded many abortions in order to uphold both the law and personal ethical beliefs.
Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale
Article by: Sofia Nadalini
Translation by: Silvia Restelli, Chiara Tomasetta
In my experience as spectator, in general, French films are either really serious or not serious at all (in both cases in a positive way, according to my point of view). La loi de la jungle belongs to the second category, not only because it is a really funny screwball comedy (and more), but also because it becomes really parodistic and satiric to a world, the one of the political and economic European laws, that is extremely bureaucratic, absurd and crazy, without any touch with reality.
Continua la lettura di “La loi de la jungle” by Antonin Peretjatko
Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale
Article by: Mattia Capone
Translation by: Elisa Grattarola, Elena Salama
“I wanted to be a musician but since I wasn’t fast enough as a guitarist, I dedicated myself to the cinema”. Clever as always, Gabriele Salvatores introduces himself with these words at the event held on Monday 21st of November, entitled A talk about cinema and music.
In the suggestive location of the Intesa Sanpaolo Skycraper’s auditorium, we attend a very interesting conversation between the guest director of this TFF’s edition and Alberto Barbera, director of the Cinema National Museum. The meeting unravels as a chat between friends who love cinema, and this set up is widely appreciated by the audience in the room.
Continua la lettura di Gabriele Salvatores – A talk about cinema and music
Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale
Article by: Silvia Villani
Translation by: Andreea Catana, Francesca Sala
“I am the monolith. I’m a block of black, cold rock, standing in the middle of the desert. We are a forest of eucalyptus. Those who look at us from afar can see us one next to the other, but when the observer comes closer, he will realize that we’re far more apart than he thought”. That’s how the stream of consciousness of Tião’s bovine ends, at the end of a surreal journey full of unsolved questions, to which, maybe, there’s no answer.
Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale
Article by: Mattia Capone
Translation by: Andreea Catana, Francesca Sala
The young and alienated Sean isolated himself in a caravan in the woods, where he starts doing research in the field of alchemy, along with his cat Kaspar as only companion. On the run from a society where he never really found his place, his brother represents the only connection with the civilization by providing him with the most bizarre equipment and materials for his alchemical experiments.
Continua la lettura di “The Alchemist Cookbook” by Joel Potrykus
Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale
Article by: Annagiulia Zoccarato
Translation by: Silvia Cometti, Miriam Todesco
After last year success of Hamlet, played by Benedict Cumberbatch, the Torino Film Festival and the British theatre are united once again (Nexo Digital is responsible for distribution in Italy). This year, it’s time for another classic Shakespearean play: Romeo and Juliet. The tragedy of the star-crossed lovers has been adapted in many forms during the years: from Zeffirelli’s classic to the colourful Romeo + Juliet by Baz Luhrmann; set among Puerto Ricans in New York and in Nazis Prague. This year, the audience had the opportunity of tasting the London theatre scene of last season, thanks to the production of Romeo and Juliet, as staged by The Kenneth Branagh Theatre Company, the theatre company founded by the famous actor.
Continua la lettura di “Romeo and Juliet” by Kenneth Branagh
Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale
Article by: Marco Bellani
Translation by: Andreea Catana, Francesca Sala
Showing up at a film festival with a film without plot and actors, it is the leap of a fish outside water or the hazard of who knows how to swim upstream.
Continua la lettura di Erase Everything I Said About Love by Guillermina Pico
Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale
Article by: Valentia Di Noi
Translation by: Giulia Epiro, Chiara Mutti
Pyromanian is a movie by the Norwegian director Erik Skjoldbjærg, who was already well-known for Insomnia (1997), which Christopher Nolan signed to remake.
The film is set in 1981 in Finsland, Norway. Son of a fireman, Dag is a reserved young man, who, after the military service, goes back home to his family. From the very beginning, he clearly appears to be a weird character, as he is morbidly attracted by the fire. As a matter of fact, the viewer knows for the whole time that it is him who sets the neighbors’ houses on fire Continua la lettura di Pyromanian by Erik Skjoldbjærg
Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale
Article by: Bianca Beonio Brocchieri
Translation by: Riccardo Abba, Barbara Lisè
There are only two male dancers that have really set a turning point in the history of classical ballet. They have been great innovators, men that have been able to set the foundation for a new era. The first one is Rudolf Nureyev. The other, Roberto Bolle. It is very rare for a dancer to be compared to Nureyev, who is almost unanimously considered one of the greatest of the 20th century. But Bolle and Nureyev share a common characteristic besides, needless to say, a superhuman talent: they tore down the boundaries of classical ballet, reaching a larger audience and rewriting the rules forever.
Continua la lettura di Roberto Bolle – L’arte della danza by Francesca Pedroni
Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale
Article by: Silvia Villani
Translation by: Silvia Restelli, Chiara Tomasetta
Thanks to what they have learnt in yoga class, two young girls fight against a würstel-looking Nazi army with a bad copy of Jason from “Friday the 13th”. After having turned the terrible creature into cheddar paste, the only thing the girls worry about is not having their smartphones with them to immortalize the event. This is Yoga Hosers by Kevin Smith. It is the standard-bearer of the new Z-movies: a fair budget, a carefully chosen cast with some relevant names from the American movie industry and a specific attention to the filmed material both before and after the shooting.
Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale
Article by: Annagiulia Zoccarato
Translation by: Elisa Grattarola, Elena Salama
As soon as the closing credits – no music in the background – rolls down, the theater is immersed in an absolute silence, because what has just been watched goes beyond any expectation. It is rather shocking.
William Oldroyd – well-established theater director, who made a couple of short movies – achieves the full-length movie, transferring on the screen the adaptation of the novel by Nicolaj Leskov, Lady Macbeth of the Mtsensk District. With the complicity of the screenwriter Alice Birch, he transforms it, though, into a story that could be easily written by many British authors of mid-1800s. Almost as if was a gothic and gloomy version of the Brontë sisters’s intrigues.
Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale
Article by: Carlo Montrucchio
Translation by: Federica Betti, Ilaria Loiacono
A city where students and seagulls live happily together and where, after losing their freedom, both Jake and Mati find solace. The two main characters are Jake, a young but misfit boy who is keen on doing any job just to flee from his family impositions, and Mati, an attractive and brilliant student, afflicted however by an existential discomfort. They venture in a star-crossed love, doomed by fate.
Each chapter of the movie, named after the main characters, wants to show the new life they now have together. This life will soon fade, leaving behind a melancholic memory of an evanescent feeling, that the audience can also find in the blurry frames, immersed in neon lights and jazz rhapsodies. The impressionism and the underground atmosphere resulting from the movie, produced by Jim Jarmush, melt with Bertolucci’s echoes of purifying sex scenes of two “trapped” souls. The actors’ bodies of Lucie Lucas and Anton Yelchin (to whom the movie is dedicated, due to his untimely demise) are concrete symbols of a love destined to remain a faint memory lost in time: Mati’s fleshy lips and soft shapes are in contrast with Jake’s sinewy and oaky build, not far from the representations of Egon Schiele; in fact, the two main characters are locked in an “Embrace” and they wish it to never end. But the pretext of telling a fleeting and saving love ends up getting lost in excessive temporal shifts and protracted sex scenes, so the spectator risks to lose all the references and is pushed inside a bare apartment with candles and boxes.
Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale
Article by: Marco Bellani
Translation by: Silvia Cometti, Miriam Todesco
Almost ten years after “Gran Torino”, Clint Eastwood is back with another means of transport as a vehicle of ideas, stories, values. Then, it was a legendary Ford, symbol of national identity and anti-racism; now, it is the Airsways 1549 scheduled flight, driven by Captain Chelsey Sullenberger. Or, more simply and tenderly, it is like a “Cactus” flown by Sully in New York’s skies as if it were a kite.
Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale
Article by: Mattia Capone
Translation by: Andreea Catana, Francesca Sala
Excessive, reckless, maverick, unscrupulous. But Sion Sono has also got flaws.
Before talking about Antiporno, it might be better to explain what watching a movie by this incredible Japanese director really means.
Have you ever heard people saying “Asiatic movies are far too complex, I can’t understand them”? There you go, I’m sure that not even Asians can “understand” Sion. At least not at the first viewing.
Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale
Article by: Luca Bellocchia
Translation by: Riccardo Abba, Barbara Lisé
Operation Avalanche begins as a found footage comedic mockumentary, turning quickly into a very engaging thriller. This combination of genres results in an intriguing film, providing many plot twists.
Article by: Giulia Conte
Translation by: Lorenzo Matarazzo
Nene Grignaffini and Francesco Conversano dedicate a film to the Spoon River Anthology to celebrate the hundred years from the publishing of the famous poetry collection by Edgar Lee Masters. The movie was shot in Lewiston and Petersburg, Illinois, where the current inhabitants of those places read the compositions in their houses’ rooms. Slow pace, even too much sometimes, but a particular idea for sure. 104 minutes of traveling through small towns which tell the tale of the provincial America and the lives of those who live there.
All of the characters who read one of the epitaphs, identify themselves with one of the protagonists from the book, as if the latter were speaking of their lives too.
“All, all, are sleeping on the hill.”
Time is still, and the film moves from house to house, listening to the story of everyone. The feeling is that the inhabitants of the two cities are lazily living their lives, stuck like the Spoon River characters, who, and here lies the difference, were dead. As it is well known, life in suburban America can be many things, except easy and fun. This narration is a clear example of what means living isolated and almost imprisoned in cities, which might be big under the aspect of territorial extension but empty and not interesting on a cultural level.
One of the Lewiston citizens reads one the most touching sentences from the Anthology:
“It takes life to love life”
This to say that a certain kind of spirit is needed to love life, despite living there.
The Spoon River Anthology is a work written in 1915, which is still very contemporary today: George Gray said:
Yet all the while I hungered for meaning in my life.”
And I think that this is a very common thought, shared by anyone of us, just like it is by the characters of the movie.
The work of Grignaffini and Conversano is entirely focused on this aspect, i.e. passing on the hunger for life and the willingness of persons to tell themselves, in order to give life to an film that, although not easy in its comprehension, is moving and makes one think.
Article by: Luca Richiardi
Translation by: Kim Turconi
How do a young and loving couple react to the unknown?
The most primordial and essential life events can have serious effects on us, when they are experienced firsthand. The unknown is hidden behind the birth of a child, in the way in which such event changes the perception of the relationship between parents; the unknown can be found in tales and myths, among the folklore that is (or was) transmitted to children.
The Hallow, first feature film of the young British author Corin Hardy, deals with ambiguities and the unknown. The film initially titled “The Woods”, was premiered at the Sundance Festival, where it has been noticed for its qualities.
The Hallow is without any doubt a horror; it proudly represents the genre with all the trimmings and many clichés that are so appreciated by horror fans. We see a little family, happy to start their life together in their new isolated home surrounded by a lively, dark, dangerous forest. There is nothing wrong with using and abusing of such commonplaces, when it is done skillfully. This is what good films do, and they manage to do it in a stimulating and pleasant way.
Good films put the audience at ease by presenting a familiar atmosphere: a relaxed audience can be carried in different directions – even new directions – as long as the film itself is able to respect the audience. This is the case of The Hallow.
As he said himself during the press conference, Corin Hardy is a big fan of horror, especially of the golden age of Italian horror: the ’70s and ’80s variety of Dario Argento and Lucio Fulci – as evidenced by Corin’s shirt of Suspiria, worn with pride.
Hardy is well aware of what it needs to make a good horror film, and he shows great respect for his role models.
The Hallow is born from the legends of European folklore – Irish folklore in particular – and, for this reason, the film is set in Ireland itself. Hardy gathered together changelings, fairies, sylvan monsters, traditional creatures and he reshaped them with his own hands. He also showed to us some preliminary but beautiful sketches of the creatures design.
The Hallow is the result of measured quotations scattered throughout the film, good narrative choices that keep the tension high by playing on ambiguous situations, believable performances from the actors, great soundtrack and the light – almost invisible – hand of the director.
A horror film not to be taken lightly: it will scare, confuse and entertain you, and it will make you desire to watch another Corin Hardy’s film again.
Article by: Giulia Conte
Translation by: Rita Pasci
Brooklyn, a drama directed by John Crowley and written by Nick Hornby, based on the novel of the same name by Colm Toìbin. It’s the moving story of Eilis Racey (Saoirse Ronan), a young Irish immigrant who, attracted by the promise of America, departs from Ireland leaving her family and her home to reach the coasts of New York City. The initial chains of homesickness quickly fade away and Eilis lets herself get lost in the intoxicating charm of love. Pretty soon, her liveliness is interrupted by her past, and this young woman will have to make a choice between the two countries and the two lives they involve. Continua la lettura di Brooklyn by John Crowley
