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trailer - Genesis

not an educational documentary on nature, but a great story (myth) the world and living creatures.


Genesis

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soon in your nose and the Chocolate Factory

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left me slightly cold.
Not that it is a good movie but I expect more from Burton invention.
To be really valuable for the visionary and, specifically, the characters of Willy Wonka and Charlie, is the book by Roald Dahl: a tale written in language clear, moving, exciting.
Reading Tim Burton is a great spectacle for the senses, but no other locations of the wonderful fantasy like "Bedknobs and Broomsticks" and even that of "Mary Poppins" I am referring to the classics because it is clear that this intends to be on that list. To make it short and do not dwell on the "usual" even if they are essential to the praise music, Depp's interpretation of the quotations and smiling, the dialogues of the film is great for kids and especially (the really more memorable!) For the exhibition of Umpa-Lumpa (flash-back of the forest is superb). Tim Burton is, shall we say inevitable, the theme of father-son relationship which is the most important difference with the Dahl book, but what else new that is not what we already know of Burton?
I consider to be one of the best This author for narrative pace and maturity, that one of the most stable, less innovative. In short, no progress.

Corpse Bride I hope to be significantly higher.

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Good Night, and Good Luck

It's easy to say what is this film is not great.

is selected to participate in the main competition of Venezia62 and after the first run of the press raining compliments for all the work around the figure of Murrow.
Fortunately, the film was well publicized without giving too much weight to the person of Clooney, to which no one seems to have spared no praise for confirming to be able to match its image to a mind engaged.

Jumping small premises and considerations, cmq I agree, "Good Night, and Good Luck" is a film that fulfills perfettemante his task, ie show the best journalism (either TV or not does not matter) , and the best use of the instrument and television.
In an era of decidedly improper use of the mass medium par excellence, Clooney gives his point of view with a different spirit from that of Moore, but with the same intention to inform the conscience. Can you? Yes, because when you leave the room (but also during playback) the comparison with the lack of investigation in the Italian TV, but especially compared with the state of journalism in Italy, it is inevitable and depressing.
To do this the director makes us here and now in the difficult mechanisms of programming a week ("See it now", as it happens). The film and television program, television journalism is using the film medium aplificare for himself and not talking about a documentary, but something that is very similar. The atmosphere has been written anywhere, is that of a news program of the '50s to become prefect of the universe in which everything happens. So the whole story and all characters, including the protagonist, assume an air of unnatural, are made of the same field of television, are the soul of the TV, and this does not seem quite real, but suspended in a dense, static representation of the concept of television journalism very oral, radio.
Faces, gestures, details are immortalized, carved by the admiring gaze of George Clooney who shows that he has learned the lesson of his father. Thus offers us one of his lessons very well built with great skill players, with a very compact script, one look and almost hypnotic sensual ear (that of cigarette smoke, and reassured the Jazz that fills with the mother's voice) and above with an excellent use of real movies that relate to processes and McCarthy. The game between fiction and reality is successful because the film relies more and more thin in this building in the real addentrante through the most appropriate use of tools of convenience.
But this atmosphere is just unreal, rigid, static, dead, with passions that can really stand out and break, which makes the film great, but just nice / fair. Edward Murrow is breathless, yet the sound of his voice survives his image of Clooney, just this amazing person is to emphasize the message that the body-most Murrow Murrow. No coincidence that he has done is already done when the film begins and ends with the speech a few years later. Despite everything the aesthetics of the television is not the triumph of the film as it should, instead remain in balance without ever afford to do so sharply that we remember for a moment exemplary.

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is a boon for those in Venice this year there is gone. Out of hours in exchange for a few thousand euro and before distribution in theaters, manages to give (even if half an hour before the official program ... but so be it, two miracles can not get along with) an extraordinary black and white A huge special effect that is not nostalgia but self-criticism, a return to the '68 Paris today, a moment after a dispute and before everything vanishes into the void of disappointment.

Very few films are imprinted in the mind for its ability to be able to exude the reality of thoughts, all that is experienced and perceived. The beauty of the film certainly is not knowing how to tell how all of a sequel with the The Dreamers by Bertolucci, but also the incredible and rare gift to give a sense of universality as an overflowing fullness and a few great epics. The impression may be that seeing a Heimat three hours, without appearing as its trailer. Ghezzi and in fact in presenting the film mentioned is the giant Reitz saga that far away from Star Wars Episode III (the connection point, return to the accounts of the past, the sequel to infinity ...) contextualizing, as if it were needed, in large accounts through which passes the intimate history. The cool
Silver Lion is crossed by three steps necessary: \u200b\u200bthe challenge, the consequences and the critical utopia, the 'inevitable individualism. The first part does not allow other forms which are not true: plans and long drives on the police vehicle on the protesters, few words, creating an apocalyptic atmosphere of sounds and shapes. In the second the good motivation of a piano (maybe any), the faces around, closer to us, including one of the guys who smoked opium, the crucial meetings to parties, to escape from the gendarme, and few / many words of self-criticism makes it eternal. The age of few words, it is inevitable that individualism friendships that end, swallowed up by the utopian reality, the love that gives meaning to everything. The story is always the same, but the way it is told that we like.
Garrel juggles a sense of bitterness, the awareness of being the last French film lovers to talk about '68 and all the pictures that has been done in 38 years. And thanks to this film manages to wipe out all the disappointment of the film again from that very last moment of utopia, with a very personal and bitter self-criticism, which is not concise. The last becomes one of the first.
So many words to say the film is beautiful and is now just another back to me in mind, L'Atalante by Jean Vigo

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The Master and the Lion as



[...] I think that everyone should look at the world through his eyes and not through a lens, then each of us must seek to write or draw what he sees with his eyes.


We can talk about the relationship with his films and their messages?
If I had managed to convey in words what I think I would not make the film, that's where you have to look what I have to say.


What do you think of the DVD as a support to watch movies too in the original language?
I'm not even a DVD player and have no plans to buy one.

sentieriselvaggi

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F Whistle (Faenza) Nuovo Cinema Paradiso

Over the duration of the Festival, the critics and the public subscribed to a certain point it hurts the large number of films seen every day, so it seems almost automatically download all the stress on a single optical film, the worse it is among the most expected. Not having seen this I think it was also one of the reasons that led the audience to whistle, but just not to applaud or reject without showing it, the film by Roberto Faenza. The year last year it fell to Placido and his "Wherever you are," which would refer slating from the critics with some success by the public to its release in October, this did not happen, even if they riparlò so little that he never text her under-representation in the halls.
About this Faenza, "The Days of Abandonment," I read the newspapers and hear on television of good and Buy Zingaretti, but from what I understand the story of the protagonist is so painful that I think I will avoid it in cinema .
Prejudice? Only a simple choice. It is a story that now I do not care for the feelings that stages and in general is just the kind of history I try always to avoid because I just do not say anything.
Yes, but why is not offered to show a film that can also affect the young audience? And possibly an Italian film in competition. If there are, if anything, we find them in categories such collateral or Horizons Midnight ...

Film aside, it seems that Faenza will turn his further ostracized "Go Italy!" '78 that the intentions to be a stern word to Italians addicted:
"I do not take it with politicians, but with the infected part of us Italians witnessing the degeneration of this country, to its end, and does not react "
I look forward to.

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Tornatore's film I did the same effect on me that Italians did when it came out. They were perhaps the cuts (half an hour, I think) to make it less felt by the public, and probably the same audience was not ready for such a film. I honestly do not remember at the time circulated that film nor film what was the predominant taste. I think that Cinema Paradiso cmq merits a viewing without any cuts. Those commercials made me Rete4 almost insignificant.
very autobiographical. The childhood and adolescence of a boy of a Sicilian town, linked to the magic of cinema. The life of the country dotted Fellini's characters seen by a child of ten years, the parish hall of a cinema, even the projection booth of the "Paradise", the father figure is absent but always sublime and embodied in the cinema of Alfred ... : The charm of the film is mainly in the first half. In the second, that of adolescence, we find attempts to live in the image and likeness of the cinema, and especially the hard finding that life is elsewhere by the space and the time of formation. The escape forced. The third part is actually the whole movie because it coincides with the memory of Toto adult film and still far from love. Final assembly of memorable movie kisses ever seen because it cut. All film is a nostalgic memory from the break and the opening towards the realization of something that can be believed.
How do you imagine such a film divided by the music of Ennio Morricone? It is impossible!
Tornatore experiences ever. The innocence and simplicity of this film I believe is in the quality of some raw scenes may or may not like. Now as before, adolescence Toto seems too naive, too simple dialogues. To be able to accept you should think that the character and his dialogues in this part have been written keeping in mind the classic romantic movies of Hollywood, and beyond. But still I am not convinced. But what annoys me more than is the dubbing of Toto boy and adult. The voices seemed distant to me by the plaintiff. There is little to do the things they drop.