Article by: Silvia Gentile
Translated by: Lucrezia Villa
After his debut as a director with Finchè c’è prosecco c’è Speranza (2017), Antonio Padovan presents his second film, which is an atypical combination along the lines of Spielberg’s science-fiction films and Italian comedies, not to mention the great influence of director Carlo Mazzacurati, with whom Padovan shares roots.
Continua la lettura di “IL GRANDE PASSO” BY ANTONIO PADOVANArticle by: Ottavia Isaia
Translated by: Francesca Massa
Made in Bangladesh, just like the labels we find on our clothes: from the first frames, the film focuses on the harsh working conditions under which the women who produce them are subjected, in overcrowded rooms and without security measures. The leading character Shimu (Rikita Nandini Shimu), after the death of a colleague in a factory fire, fights against these conditions and begins to collaborate with a journalist to start a union that protects women workers (all women, because they are considered more easily manageable and they are paid less than men).
Continua la lettura di “MADE IN BANGLADESH” BY RUBAIYAT HOSSAINArticle by: Maria Bruna Moliterni
Translated by: Viola Locci
In 2015 Bill Condon obtained a good success with Mr Holmes, a film inspired by Mitch Cullin’s book. Today Condon grapples with a new film based on Nicholas Searle homonymus’s novel, The Good Liar. The two main actors are Helen Mirren and Ian McKellen who play together for the first time on the big screen.
Continua la lettura di “THE GOOD LIAR” BY BILL CONDONArticle by: Chiara Perillo
Translated by: Cecilia Malanima
Whatever foreruns the future, so innovations and changes, is often perceived as a choc from those who live in the present, since they’re still busy figuring out the past. From this point of view, Le choc du futur is emblematic, considering that the main issue concerns the creative process of a new kind of music: the music of the future.
Continua la lettura di “LE CHOC DU FUTUR” BY MARC COLLINArticle by: Giulia Leo
Translated by: Francesca Massa
A confident illustration about knowing how to laugh. Laugh about the pain and turn it into something else: this is what Leticia Jorge does in her second work Alelí. The Mazzotti family is warm, enchanting, insane; the father’s death is the backstory of the odd and absurd misfortunes that occur in a day. A family black comedy that follows a classic pattern: as a member of the family passes away, the relatives attempt to deal with the emotional and material heritage which the departed left behind.
Article by: Alessandro Pomati
Translated by: Alice De Vicariis
Creatures that move around in the darkness, some limping, others standing on their feet. Creatures that live in some sort of ruins of an ancient city. Creatures that don’t talk, they just act, like animals. Creatures that, once they are pierced through by the dim light that comes from cracks, finally appear to us for what they are: human beings, mostly men.
Continua la lettura di “VITALINA VARELA” BY PEDRO COSTAArticle by: Giacomo Bona
Translated by: Ilaria Roma
When you lose someone you care about, you feel lonely and the only person who can understand your pain is you. Besides the drama of losing her best friend Grace (Christina Masterson), Aubrey (Virginia Gardner) feels bad for not being there for her when she needed her the most. That is why, after her friend’s funeral, she decides to break into Grace’s apartment and spend the night there. The next morning, she wakes up and finds out that the entire town is strangely silent and empty. There are some abandoned suitcases, scrap metal and blood on the snowy streets.
Continua la lettura di “STARFISH” BY A.T. WHITEArticle by: Beatrice Ceravolo
Translated by: Giorgia Bellini
“Death is thriving”, or “the death’s business is going really well”: these are the cynical but trustworthy words said by Spencer, a psychic played by Zachary Spicer, who also produced the film. That definition describes also the films revolving around this theme: it is quite rare to find a new approach to the everlasting issue of the end of life, but the second film by director Paul Shoulberg gives us a new surprising perspective.
Continua la lettura di “MS. WHITE LIGHT” BY PAUL SHOULBERGArticle by: Valentina Velardi
Translated by: Lucrezia Villa
Noura (Hend Sabri) dreams of finalizing the divorce proceedings as soon as possible to be able to live with her lover Lassaad (Hakim Boumsaoudi) at last. Her life has not been easy so far; her husband is in jail and she has had to raise her three kids alone while trying to keep a roof over their heads by working in a hospital’s laundry room. Nevertheless, she is happy, she has managed to emancipate and find her own balance. However, when Jemal (Lotfi Abdelli) is unexpectedly released from jail, he comes back abruptly in her life, upsetting her balance.
Leggi tuttoArticle by: Noemi Castelvetro
Translated by: Anna Benedetto
A diaristic voiceover adornes a steady stream of moving images: Ne croyez surtout pas que je hurle, in English “Just don’t think I’ll scream”, belongs to the cinematic trend of “spoken” films, in which the writer-director combines powerful images with meaningful words. Switching between personal stories and digressions, the director reveals some autobiographical events and private thoughts that led him to an almost self-destructive “addiction to cinema” from April to October 2016. During this short amount of time, he watched nearly 400 films, whose brief clips pieced together form the unique visual feature of the movie.
Continua la lettura di “NE CROYEZ SURTOUT PAS QUE JE HURLE” BY FRANK BEAUVAIS – “SIX PORTRAITS OF PAIN” BY TERESA VILLAVERDEArticle by: Gianluca Tana
Translated by: Selene Novaro Mascarello
In the U.S., the expression blood quantum is used to refer to Native Americans as opposed to other ethnic groups: those whose percentage of Native American ancestry is at least 51% are labelled as Native Americans. This can often lead to racial discrimination in one of history’s darkest times as far as inclusion is concerned. The film, by Mi’gMaq director Jeff Barnaby, serves as an allegory for the cannibalisation carried out by white culture to the detriment of Native American culture, slowly leading to its disappearance.
Continua la lettura di “BLOOD QUANTUM” BY JEFF BARNABYArticle by: Elio Sacchi
Translated by: Ilaria Roma
There is a double bond between Taika Waititi and the city of Turin. After the mockumentary What We Do In The Shadows, where the director explored the daily life of a group of vampires, Waititi comes back in town to open the 37thedition of the “Torino Film Festival” with Jojo Rabbit. The movie, focused on one of the most tragic episodes in the history of mankind – the fall of the Third Reich – , is characterized by irony and lighthearted tones. The filmmaker started working on this movie during the post-production of What We Do In The Shadows, but he had to wait for the right time to release it.
Continua la lettura di “JOJO RABBIT” BY TAIKA WAITITIArticle by: Arianna Vietina
Translated by: Gabriele Cepollina
After King of the Belgians (2016), King Nicholas III (played by Peter Van den Begin) is back with an unconventional sequel directed by Jessica Woodworth and Peter Brosens, The Barefoot Emperor, which depicts the crisis of identity in Europe and satirizes the major powers. The sovereign, who had crossed Europe in order to go back to Belgium, split by a coup d’état carried out by the Walloons, now has to face a new surreal threat: the disbandment of the European Parliament and the crowning of an emperor of Nova Europa.
Continua la lettura di “THE BAREFOOT EMPEROR” BY JESSICA WOODWORTH AND PETER BROSENSArticle by: Marco De Bartolomeo
Translated by: Alice De Vicariis
Anxious, prophetic, mysterious. It’s the raven face of Barbara Steele – queen of Italian and international horror – that introduces the press conference of the Turin Film Festival. Already at its 37th edition, the festival set-up by Emanuela Martini reveals itself to the public, proving once again to be one the most important cultural events of Turin.
Continua la lettura di OPENING PRESS CONFERENCE – 37TH TURIN FILM FESTIVALArticle by: Elio Sacchi
Translation by: Giulia Maiorana
Thanks also to the well-established artistic partnership with Zhao Tao, fetish actress who appears in almost every Jia Zangke’s film, the director creates a fil rouge, which links all his works. These works narrate, through their characters’ stories, the author’s life and, at the same time, the history of China, which remains in the background. Ash is the Purest White keeps going on this path, offering the viewer a journey which goes from the beginning of the century to the present days, walking a thousand miles.
Continua la lettura di “ASH IS THE PUREST WHITE” BY JIA ZANGKE
Article by: Marco De Bartolomeo
Translation by: Emiliana Freiria
His name is Gaspare. He is a tall and big man with large shepherd arms and a nice expression. He started working with sheeps when he was 14 years old and he never stopped since then, neither on holidays. After all – to quote one of his favourite mottos – to live truly means doing, acting, constantly moving. The rest, to him, is only mere existence. Continua la lettura di “IL GIGANTE PIDOCCHIO” BY PAOLO SANTANGELO
Article by: Stefano Tropiano
Translation by: Cecilia Facchin
The noir genre allowed us to go over the classic detection storytelling, reenacting complicated situations and characters who are torn apart by their interior conflicts, but who are also part of the traditional dichotomy between good and evil. Vargur by Börkur Sigbórsson, whose title for the international distribution is Vultures, efficaciously recalls these lessons, in a powerful and dark noir both in setting and essence.
Continua la lettura di “VARGUR/VULTURES” BY BÖRKUR SIGBÓRSSON
Article by: Roberto Guida
Translation by: Letizia Bosello
“Jeanne is looking for Paul”. It wasn’t unusual to find such ads on many American newspapers during the 80s: young and aspiring Maria Schneiders were looking for dashing and aspiring Marlon Brandos in order to recreate the erotic passion scenes in Bertolucci’s masterpiece. Terry and Phil, classmates in film school, will both go through that. They are desperate, looking for comfort for the loss of Catherine, the girl they both love: the three of them are hardened cinephiles, grown up during the time the U.S.A. discover their personal nouvelle vague, the New Hollywood. Passion will guide them throughout life without, however, making them truly happy.
Article by: Fulvio Melito
Translation by: Melania Petricola
The door is a multi-symbolic element, a self-assured space between the inside and the outside, it is a limit, an obstacle or a symbol of welcome and transition, a symbol of change. Marcello Sannino, around 2010, decides to talk about Naples and he does it by putting at the centre of his project Porta Capuana; he does not know yet what will be the outcome of the film but what he has for sure is the idea to try to represent Naples and its several peculiarities. Faces, objects, social gatherings, music, screams and laughter; everything passes through that monument which has always been a symbol of transition towards the heart of the city. Staying nearby you can admire the everyday life that changes but that at the same time, perpetuates the usual routine.
Article by: Marco De Bartolomeo
Translation by: Maria Elisa Catalano
A quiet clearing in the mountais, the tinkling of cowbells, a shepherd playing the violin near the flock. It might seem to be an idyll, a fiction, a delicate literary landscape like the one that we find in Virgilio’s Bucoliche, or from Tasso’s Aminta; but here, the mountains are in Veneto, the sheep are called by their names and the shepherd is actually a girl who has preferred pastoralism to the passion for music.
