Within the cycle “Center of the world” devoted to the Italy: Sunday 22 may at the The Regent cinema – 17h – entry € 5.90 for all
Synopsis : “On behalf of the Italian people” is a masterpiece of the Italian comedy. Rarely social buffoonery, the satirical observation, the Carnivalesque realist had reached this degree. Judge Blackburn is an honest magistrate who fight against everything that perverts the company. In investigating the death of a young girl Silvana, He is led to query a wealthy corrupt industrialist who seems linked to the disappearance…
Italy, 1H40 With : Luca Marinelli, Alessandro Borghi, Silvia of Amico
"Bad seed". (original title "Non essere cattivo" - am not nasty) is the third and final film of Claudio Caligari. In a consistent continuity with the previous two ("Amore Tossico" and "l'odore della notte"., be seen as the culmination and the spiritual and poetic author's testament, died just before the conclusion of filming.
Valerio Mastandrea, great friend of Director and interpreter of his previous feature film, has produced and completed the work, which was presented at the festival of Venice 2015 where Alessandro Borghi won the Pasinetti award. The film is also a candidate at the David di Donatello 2016 (the Italian Oscars) in sixteen categories.”
The story takes place in 1995, but it is not a big difference with 2015 (year during which the film was made, Although he had a very long gestation) or with the reality described by the poet.
Cesare (Luca Marinelli) and Vittorio (Alessandro Borghi) grew up together and together they try to survive by selling drugs, petty theft and small scams. Drugs, criminals, violent, Cynics, We are witnessing their redemption attempts - which always - fail but we cannot see them as real villains.
If in Ostia common morality has no place, the figures that inhabit it are equipped with a deep and sincere humanity which blends without conflict with crime : Cesare takes care of sick niece small (the daughter of his sister died of AIDS) and Vittorio proves to be a loving father.
This difficult coexistence of feelings is possible by acting moving two protagonists, that exhibit rings, tears, joy and despair as two sides of the same coin.
Salvation does not belong to equilibria of Ostia, no redemption is not planned or possible, the single batch is only a glimmer of optimism in the future.
A discussion on the film by Marco Bellocchio in the company of Pier Giorgio Bellocchio, son of filmmaker and actor (The jump into the void, Buongiorno, night, Win, La Belle Endormie, Sangue del mio sangue...), Simone Gattoni, producer (Sangue del mio sangue...), and Georgiou has. Nazzaro, film critic and delegate general of the criticism of the Venice festival week.
The meeting will be followed by, at 9: 00 pm, the projection of Buongiorno, night, submitted by Pier Giorgio Bellocchio, Simone Gattoni and Giona has. Nazzaro.
Who cares about art, history and culture will excite you like never before. Who thinks he knows perfectly Roman basilicas Saint Peter and you'll have to change my mind. Anyone who believes you've seen everything about new technologies will have to remain open-mouthed. Because the one created by Sky 3D and from the Vatican Television Center (with Nexo's Digital distribution) is outstanding film production, that goes beyond any other documentary or art film created to date.
A film tour with points of view unpublished shots ever made before. San Pietro, St John Lateran, Santa Maria Maggiore, San Paolo Fuori le Mura and the works of art that hold, narrated by Antonio Paolucci, Paolo Portoghesi, Claudio Strinati and Micol Forti and introduced by Stendhal's Roman Walks ' songs played by Adriano Giannini.
An extraordinary production made unique by the experience amazing and unprecedented involvement of 3D created by Sky 3D and the Vatican Television Center and distributed by Nexo Digital
"Nothing in the world can be compared within Saint Peter"Stendhal
After the success of Vatican Museums 3D and 3D and the Uffizi in Florence, arrive at the cinema St. Peter and papal Basilicas of Rome 3D, the new 3D film production signed Sky, along with the Vatican Television Center and in collaboration with Nexo Digital, Magnitude movies and Sky Arts HD, on a journey through the four papal Basilicas of Rome and their treasures: San Pietro (one of the 25 most visited by travellers from around the world), St John Lateran, Santa Maria Maggiore and San Paolo Fuori le Mura. Four Majestic buildings – each with a precious altar papale, treasure trove of timeless works of art, half centuries by millions of travellers and pilgrims alike – become stars of the new film tour which was recognized as cultural interest movies from the Ministry of cultural heritage and tourism – Directorate General Cinema and which will be released in cinemas in the world by Nexo Digital. The opportunity that led to the creation of St. Peter and papal Basilicas of Rome 3D, that will be in the Italian cinema only for 3 days from 11 to 13 April, is the extraordinary Jubilee of mercy called by Pope Francesco. The common thread of narrative, that winds from the early Christian basilica on which St. Peter was built up to the grandeur of the Baroque through the precious works of medieval and Renaissance art, is offered by some tracks from "Passeggiate Romane" by Stendhal (1783-1842), the famous French writer who in the early nineteenth century visited the four churches during his Grand Tour of Italy. Stendhal's songs were played in the film by Adriano Giannini, preparing emotionally the Viewer to come into contact with the artistic world of the four impressive buildings through the eyes of this cultured traveler to early ' 800. In the course of 90 minutes of St. Peter and papal Basilicas of Rome 3D will be four experts who will talk about the basilicas and works that are preserved: Antonio Paolucci, Director of the Vatican museums, We will drive inside of St. Peter; Paolo Portoghesi, internationally renowned architect, propose a keen insight into St John Lateran; Claudio Strinati, noted art historian, will reveal the history and legends of Santa Maria Maggiore; Micol Forti, contemporary art collection of the Vatican Museums Director, will viewers St Paul outside the walls. Within exclusive places of the Vatican (octagons of the Fabbrica di San Pietro, the Salone Sistino of the Vatican Library and the Ducal Hall of the Vatican Apostolic Palace), experts, each according to his own point of view, will describe the basilicas in an original and engaging: their evolution over the centuries, the most famous works of art, the lives and stories of popes and artists from Giotto to Bramante, from Michelangelo to Francesco Borromini, by Gian Lorenzo Bernini to Domenico Fontana, by Arnolfo di Cambio to Jacopo Torriti- the events that have made these places immortals and the profound spirituality emanating. Thanks to powerful technical means, in use in the most advanced productions, amazing images were created, exclusive and original viewpoints taken by, made possible thanks to the use of helicopters and parallel grippers. To complete this extraordinary Visual system there will be the power of 3D, able to "dip" the Viewer, placing it center stage and in direct contact with the works.
A film in 3D on the four papal Basilicas of Rome will be in Italy from 11 to the 13 April 2016.
(Saint-Pierre, Saint John Lateran, Santa Maria Maggiore and St. Paul outside the walls)
Since 1965, with his first film, Fists in the Pocket, Marco Bellocchio emerged as a landmark of Italian cinema. Author of a cinema of rupture, fifty years of career and dozen feature films, It has never ceased to push into his entrenchments society, sash always breccias in the certainties that make the ideas and values. Meeting with a young filmmaker still angry.
Marco Bellocchio or cinema of conscience
Family degenerate, incestuous and endotoky desires, his first film was released on the screens as an epileptic seizure. That sudden also violent seizures who was Italian cinema. A direct kick in the soft underbelly of the Italy of Christian democracy. It was in 1965. Marco Bellocchio was born at the cinema with Fists in the Pocket. And unlike the title of his film, he tapped fists on the table and would empty his pockets as empty his bag to clean slate. A rabid. Marco the enraged, named it so it. Marco the enraged, would designate it one now.
It is only after the family, It will address the policy - bourgeois and revolutionary (China is near, 1967), religion (Name of the father, 1972), at the connivance between press and power (Rape in first page, 1972), Army (The triumphal, 1976). In a decade, it aligns the target in the viewfinder of his camera. It will be even a time, at the end of the years 1960, Member of UCI, Maoist-controlled, and held to the militant cinema. Behind Marco the enraged, Marco the committed. What do a political filmmaker, even today, with always in his line of sight the family, institutions and power as critical objects of Italian society.
But reduce Bellocchio film to this one aspect would be to miss one of the most original works of the last fifty years. It would mean forgetting the Fagioli years (the years 1980-90), the name of the famous Italian psychiatrist Massimo Fagioli, destroyer of Freud and follower of collective analysis. Bellocchio will go up to associate it with his films (Devil in the flesh) and they reproached him. Yet, the report to psychoanalysis holds an important place in the cinema of Bellocchio. Cinema- and therapy of cinema. It is in the cinema and psychoanalysis. A quest for consciousness, a tool to get to know and understand the world. A way to free itself by itself. For him : behind Marco the enraged, behind Marco the committed, Marco the encagé ? Maybe, and it looks. But more particularly, and this (those) watching us(NT), for its characters. Extremely complex characters who are, more than archetypes for social criticism or psychological film, individuals against their conscience and their contradictions. The awareness of being, but also the moral conscience. The contradictions in acts and feelings. Characters alienated by the collective, but that only rage can release. Individuals in prey to doubts or certainties, resignation or action, but above all to themselves. Deeply human characters whose complexity exceeds the poor Manichaeism (for or against) our debates on subjects of companies (see The beautiful sleeping or the smile of my mother). This gives a strange dialogue between conscious and unconscious, often haunted by the spectre of mental health, permanent topic of questioning of the cinema of Bellocchio. A dialogue which eventually settled, especially, between the film and one that looks at him.
This dialogue, Bellocchio has finished putting it up through a film style quite particular. By making his story, his way of telling, the psyche of his characters, even the film itself. This will be first by his master to shoot interiors, often camera, apartments or houses, as if one walked in a mental space. It will pass, more vividly, by using images and sounds like two realities - the reality of action and thought - that meet on the screen. The use of the cinema as a projection of emotions in “Win”. Images of contemporary drama of action and news that fit to the pageant to give, more than a reconstruction, a reconstruction. The use of television in archival footage “Buongiorno, night” that sound like a souvenir while they are supposed to be contemporary action. Until filming guilt as a Japanese Ghost film : the wanderings of Aldo Moro, its mental projection or, in the apartment / spirit of the young Chiara brigadiste. A presence of thought, imagination and memory, filmed at the same level as that of the action (that is stamped conventions such as the flashback introduced by a crossfade), or even in the same plane, that gives time a tinge dreamlike otherwise fantastic. As these children in Nightgown, in “The jump into the void”, reliving trauma spent in the apartment of Michel Piccoli and Anouk Aimée without that they seem to see them : souvenirs as the apparitions that haunt their 'appartemental '... The imagination is real, tell a key figure in Buongiorno, night. I need to see, to ensure that this is not a dream, says Chiara in the same film. And the dream is a thought by images, looks like Fagioli. Bellocchio, him, filmed. It lends images thinking. It puts the thought in the image. And made the film a true psychic space.
We might then see the film by Marco Bellocchio as emergence in a cinema of conscience three times. The unconscious of a conscious cinema cinema. A first step, Fists in the Pocket to the jump into the void (1979), where manifests an unconscious in revolt against an established order. Where the form seeks the bottom. A second step, Eyes, the mouth (1982) the dream of butterfly (1994), that of analysis, who sees cinema through transgression - subjects and the form, where disorder is order. Where the bottom seeks its form. And a third step, the Prince of Homburg (1997) to the present day, that of consciousness, where the form and the content merge into a new cinematographic language (more than a style) precise and unique which would have the fluidity, and ruptures, a thought. That of its author. A strange and exciting experience.
First film of the cycle: Thursday 14 April-21 h
“The jump into the void” (Salto nel vuoto)Marco Bellocchio. 1979. Italy / France. 120 min. Colors. 35 mm. UNIVERSALLY.
With Michel Piccoli, Anouk Aimée, Michele Placido, Gisella Burinato.
Madness and the family. Once again, a brother and a sister. Singles both, they have woven ties, sultry. Who is the craziest of the two ? The psychorigide judge or the tall brunette who speaks alone at night ? Say it right away, The jump into the void is a part work, the Matrix movie of upcoming film by Bellocchio. In grand master of ceremony, maestro Orchestra a strange claustrophobic ballet, elegant and abstract. Anouk Aimée caulking and Michel Piccoli listens to the doors. Alienation, harassment, machination and wandering. Past and present which intertwine. And dreamlike flashes and scratches. Bellocchio puts in place a mental labyrinth in which the Viewer is invited to get lost. One emerges destabilized as a boxer to the awakening of a KO.
Considered one of the greatest actresses of all time. As a child he studied music and acting, He attended the school run by Silvio D'Amico and began working in theater. His debut at the cinema is dated 1934, with «La cieca di Sorrento».
The documentary, that tells the flow of migrants to our country, Rosi was filmed on the island of Lampedusa over the course of a year
The only Italian films in the running at the 66th edition of the Berlin Film Festival was awarded the highest prize.
BERLIN – Fuocoammare, the documentary by Gianfranco Rosi after sacro GRA – already awarded in Venice – He won the Golden bear at the Berlin Festival. Recoils Rosi and calls on the stage of the Berlinale the film's Assistant Director Peter doctor Bartolo and honored at the 66th edition, This year dominated by the theme of immigration, integration and with a strong look at the Middle East, to Africa. Says that “This is a prize for manufacturers”. Speak english, then in Italian.
The jury Chairman Meryl Streep, alongside the Director Dieter Kosslick, reads the verdict: “Exciting and original film, the jury was overwhelmed with compassion. A film that brings together art and politics and many shades. That's exactly what art means in how will the Berlinale. A free story and pictures of truth which tells us what is happening today. Urgent film, visionary, necessary”. On stage, Raina begins her speech: “My deepest thoughts go to all those who have never arrived in Lampedusa, to those who have died. I dedicate this work to the lampedusans who welcomed me and have welcomed people who came. It is a nation of fishermen and anglers welcome everything that comes from the sea. This is a lesson that we must learn”. And continued: “For the first time, Europe is debating seriously some rules to be fixed, I'm not happy with what they are deciding. The barriers have never worked, especially mental ones. I hope this film helps to break down these barriers”. Then salutes by kissing his daughter Emma: “I spent a year and a half in Lampedusa and I saw her just a few days. This will make her happy for a long time”.
Within the cycle “Center of the world” devoted to the Italy: Sunday 22 may at the The Regent cinema – 17h – entry € 5.90 for all
