Dr..To the latest movie by Carrier For the Donbass war he said Natalia Vorogbit. Then Maggie Gyllenhaal Written by Elena Ferrante, The Encounter of Cultures Cleo Bernard The latest comic gem from Mariano Cohen And Gaston Dubrat. As we head into the summer season, the dining room does not lack in quality.
Emmanuel Carrier, the famous French writer, writer and screenwriter – for his third film as director – is adapting the autobiographical novel by author Florence Aubenas “Le quai de Ouistreham”. The story is the story of a rich and successful middle-aged writer who, in order to make a book about precarious work, joins a staffing office and ends up cleaning up on-duty ferries in the English Channel, maintaining exhausting spells, and constant insults. Nor personal satisfaction or satisfaction. At the same time, however, the woman (played in the movie before Juliette Binoche) You discover the humanity, spirit of solidarity, and the great dignity of colleagues and staff with whom you share the experience.
Carrier reflects on the harsh social division and class that characterizes the world of work in France (and Europe) today. It gives life an honest and true description of an unseen and almost unknown world, exploiting the ambiguity that the novel places – is it morally right to pretend to be someone else to try to give a voice to those who don’t have it? – And try to complicate the picture so as not to offer or suggest easy explanations for the viewer. He can’t quite get rid of a certain patriarchy and, we might say, a “colonial” look at the way he tries to empathize with people who are placed light years away from his home. Environment Socially and culturally, but at election time, the film is a great tool for trying to get an idea of what France will be in 2022.
(Capitol Building / Antio Space Treviglio Cinema)
Based on the novel of the same name by Elena Ferrante, Maggie Gyllenhaal’s first film as director is the story of a nearly fifty-year-old woman (Olivia Colman), a university professor, while on vacation in Greece alone, meets a girl (Dakota Johnson), who is the mother of a three-year-old and seems to have a mixed sense of envy and emotion. through many recovery It turned out that the young heroine was an absent mother to her two daughters. The woman focused on pursuing her academic career and engaged in a prolonged extramarital affair with a colleague, the woman ending up neglecting her family.
The film, carefully following the novel, is a long psychological introspection of a woman with a complex character and an unresolved interior. To do such work with cinema is very difficult and requires a great ability to deal with the nuances of staging and characterization of characters, to bring out through images what literature has entrusted to the written word. Gyllenhaal is adept at giving life to the uncomfortable and tense atmosphere in which the story moves and describing the emotional tension that surrounds the protagonist.. On the other hand, it is less convincing in giving importance to the story, constantly fragmented, fragmented, and with a narrative not always coherent, which may lead to an underestimation of the scope of the reflections. However, “Dark Daughter” is an evocative work that centers around a multifaceted, polymorphic and complex female world following the trend that cinema is using more and more today.
(Conca Verdi / Cinema Antio Spazio Treviglio)
A small, simple film made with very few elements from British director Cleo Barnard. A musical movie, even without being an A musicbecause it tells the friendship, affection and love that arises between two people who are different in everything – age, origin, gender, skin color, social background, family relationships – but united by a passion for music, which then, in truth, is not the same either. Ali, a former DJ of Indian descent, and Ava, a school assistant of Irish descent, are the faces, bodies and energy in this intimate tale of two solitudes captured in the small, gray, oceanic world of Bradford County, West Yorkshire, north-central England.
An honest, deep and rich human story based on exceptional actors and an intelligent and polite sense of humor. For it is the spirit and lightness with which the two protagonists confront life—and the resistance to their union that appears almost everywhere within the fabric of a rural city like the one in which they live—that blurs the distances of geography. The cultural and social that divides them and embodies the tangible possibility of self-assertion as individuals, the choice of place of residence. The director returns with great sensitivity this desire to live, laugh and dance to life’s difficulties, entrusting the deepest meaning of what she presents to the characters’ complex characters.. Because sometimes it’s inside the little movies that hide the biggest feelings.
Among the most talented contemporary comics writers, Argentine directors Mariano Cohn and Gaston Dobrat return to the cinema with an unmissable film. Funny and adorable and she has three great actors like PEnelope Cruz, Antonio Banderas And Oscar Martinez, “The End of Surprise” is a merciless picture, skewed toward the paradoxical and grotesque world of contemporary art and entertainment. A very wealthy businessman close to old age wants to leave an indelible mark before leaving forever, so he decided to make a movie. Choosing to adapt the work of the Nobel laureate, he hired a famous award-winning director for the author’s cinema and two actors at the height of success but quite the opposite in character. The three isolate themselves in a large studio owned by the producer to work on the film, but forced coexistence, petty and big narcissism, obsessions, torment, and rivalry among the actors make the experience a nightmare.
A complete satire on a world, the world of cinema, the authors know well and highlights hysteria, stigmas, and paradoxes. We also ask the three translators to make fun of themselves and their profession. The result is a funny, repetitive and witty comedy, able to speak admirably about contemporary, but also to reflect on the incomprehensible, erroneous and inauthentic mechanisms that increasingly govern relationships in the art world..
While the war in Ukraine is raging and it doesn’t seem like it wants to subside, our house distributors are bringing to theaters several movies they’ve kept in a drawer for months and now, all of a sudden, they’re finding out they’re relevant. While the beautiful is still in the room “Atlantis” from Valentin Vasjanovic Released in recent weeks, also comes the movie “Bad Roads”, which was shown at the Venice Film Festival in 2020 and directed by the young Ukrainian director Natalia Vorogbit. The film tells of Donbass and a war that lasted nearly eight years, but the least attentive viewer may think that it is a kind of instant movie on the conflict in recent months. Because the scenarios are the same we see every night in the TV news and the violence and perversion are those stories that arrive from occupied Ukraine almost every day.
Vorozhbit takes inspiration from four real events and gives shape to the largest number of episodes by telling stories that seem marginal, far from the stage where the fiercest face of war is shown, but emphatically showcasing all the brutality of the latter. It is places, that of eastern Ukraine where the film is shown, where every action, even the most common, seems to twist itself and take on absurd and disturbing meanings.. And where the most absurd, contradictory and frightening situations end up becoming the norm. How would you risk your life if you succeeded? Check point Or if you stop waiting for the bus or if you try to preserve an iota of humanity by trying to make a gesture of kindness in the barbarism of everyday life. And it is this distortion, this sense of inability to communicate and perceive horror that describes the nonsense of war better than anything else.
(from 28 April)