#CharlotteRampling

[rrainbowwarriorr]

[fabioemme78]

[ricisidro]

#DunePartTwo (2024) #scifi film focuses on Paul (Timothée Chalamet) reunites with Chani (Zendaya) and the Fremen while seeking revenge against the conspirators who destroyed his family. Paul must choose between the love of his life and the fate of the universe.

It is based on #FrankHerbert's epic novel (1965) of the same name and one of the world's best-selling science fiction novels of all time.

#DuneMovie #dune2 #WarnerBrosPictures #timotheechalamet #zendaya #RebeccaFerguson #JoshBrolin #FlorencePugh #DaveBautista #christopherwalken #StellanSkarsgard #charlotterampling #SouheilaYacoub

[mrslawo19]

Good night fam. Sweet dreams 🫂🖤✨💫 Timeless beauty - #CharlotteRampling by #HelmutNewton

[croquissartoriaux]

A black belt with brown shoes .... OK, fine. I've seen some weird ones, but I like you... And indeed, you deserve one hell of a beating!

#croquissartoriaux #sadomaso #BDSM #charlotterampling #blackbelt #portierdenuit #fouet #masochiste #funnysketch #menswear #menstyle #dapper #elegant #funny #comic #braces

[movienized-com]

DNA

DNA (Serie 2023) #AndersWBerthelsen #ZofiaWichlacz #OliviaJoofLewerissa #JohanneLouiseSchmidt #SigurdHolmenLeDous #CharlotteRampling

Serie Jahr: 2023- Genre: Krimi / Drama / Mystery Hauptrollen: Anders W. Berthelsen, Zofia Wichlacz, Olivia Joof Lewerissa, Johanne Louise Schmidt, Sigurd Holmen le Dous, Charlotte Rampling, Nicolas Bro, Trine Pallesen, Louise Mieritz, Lars Berge, Mario Montescu, Serban Pavlu, Afshin Firouzi, Adrian Anghel, Theodora Sandu, Eliska Materankova … Serienbeschreibung: Fünf Jahre nach dem…

[pantonaut]

funny how you forget the things in life that make you happy.

#45years #charlotterampling #andrewhaigh

45 Years (2015)

[larsfredriksvedberg]

#charlotterampling @jeanclaude.deutsch #jeanclaudedeutsch #1980 https://www.instagram.com/p/CnPSD6WrAzp/?igshid=NGJjMDIxMWI=

[sergeotokar]

Tiré d’un roman de Robin Cook , On ne meurt que deux fois est un polar réalisé par le prolifique Jacques Deray et dialogué par Michel Audiard (un de ses derniers travaux puisqu’il décède avant la sortie du film en 1985 ). L’intrigue est dans la pure tradition du film noir américain puisqu’il narre avec une certaine efficacité le fameux canevas du jeu du chat et de la souris entre un inspecteur cynique (formidable Michel Serrault) et d’une femme fatale sans scrupule (sublime Charlotte Rampling). L’ensemble est particulièrement sombre et ne laisse aucun espoir à ses protagonistes. Il n’y a pas de héros dans ce long-métrage qui dépeint des êtres meurtris par la vie et ne laisse aucun échappatoire. Le point fort de l’œuvre est bien sûr ces deux stars principaux qui nous proposent des numéros de haut vol. Sans excès de style , la mise en Scène du réalisateur de la piscine est précise et concise à la fois. Comme toujours les dialogues d’ Audiard font toujours mouches. Ils donnent de l’épaisseur aux personnages et embellissent des situations souvent cocasses. Sans être un grand film, l’ensemble est suffisamment prenant et trouble pour marquer la mémoire du cinéphile chamboulé par un dénouement qui plonge dans les tréfonds ébènes de l’âme humaine. #onnemeurtquedeuxfois #jaquesderay #jacquesderay #michelserrault #jacquesaudiard #charlotterampling #polar #filmfrancais #filmnoir #filmculte #geekinworld #cinema #cinephiles (à Paris, France) https://www.instagram.com/p/Cl6nV3MLRV9/?igshid=NGJjMDIxMWI=

[alejandromogollo]

Happy birthday to the talented Charlotte Rampling. I always found her utterly enigmatic. There's this famous spanish actor who attended a gala where she was too, they were both presenters, and being a great fan asked her, would she take a picture with him. She said NO. That cracked me up. There’s a kind of Garbo attitude to her, right? This is an old acrylic on cardborad painting, that was part of an art class project back in college. So no, I wasn’t always a digital illustrator 😜 #charlotterampling #acrylic #bornonthisday https://www.instagram.com/p/CoSTENBI3Og/?igshid=NGJjMDIxMWI=

[freegreatmovies]

Happy 77th Birthday to Charlotte Rampling! #charlotterampling #benedetta #zardoz #thenightporter #stardustmemories #englishactress https://www.instagram.com/p/CoR17pFOPAf/?igshid=NGJjMDIxMWI=

[fabioemme78]

[urnwithdeadflowersinadrainedpool]

[adamwatchesmovies]

Dune (2021)

Dune is everything we were promised. It’s a film whose ambition matches its mythical scale and radiates imagination. The next installment can’t come soon enough.

In 10191, the universe is ruled by an Emperor who assigns the exploitation of planets to the many powerful ruling houses. Interstellar travel is possible through “spice” a substance found exclusively on the harsh desert planet of Arrakis. For 80 years, spice harvest has been overseen by Baron Vladimir Harkonnen (Stellan Skarsgård). Now, Duke Leto I of House Atreides (Oscar Isaac) is the new steward of Arrakis. This shift puts House Atreides, particularly Duke’s son, Paul (Timothy Chalamet) in danger.

This sci-fi epic’s a 156-minute colossus. Before the story can even begin, there’s a lot of ground to cover. Sometimes, it means inelegant exposition (such as a training sequence in which Paul is reminded of the way forcefields work) and even with it, things can be hard to grok. If you miss every crucial name and the reason for everyone’s actions fly right above your head, Dune still grabs you. You can tell this story is set in a living, breathing world whose history and people are meticulously detailed in historical records that would take a lifetime to read.

What prevents you from ever becoming completely lost is the world. The flying dragonfly-like ships move in a way that makes sense. You can see how we'd someday come up with the mining equipment on Arrakis. The houses, politics, and schemes feel like they come from our past - seems certain things never change. Your gut knows it's building towards something grand. Paul’s ominous dreams hint at a big conflict coming up. The question is whether he will become the man he needs to be in time to face it.

On any world, the stakes would be high but on Arrakis, under these circumstances, it’s on another level. The filmmaking makes Dune feel immense; on the same scale as Peter Jackson’s Lord of the Rings trilogy. You can feel Dennis Villeneuve’s passion. The art direction, cinematography, and score make this coming-of-age story the stuff of legends.

My only experience with Dune was the 1984 cinematic catastrophe by David Lynch, which might’ve helped me make sense of everything that was going on. I didn’t read the book, I only know that more sandworms and battles are coming. Maybe it will take you a bit to understand what everyone’s talking about but that’s where the running time becomes an advantage. You'll be able to catch up as we are introduced to more relatable ideas like the customs of the Fremen, how Paul feels about the responsibilities being thrust upon him, his relationship with his mentors (played by Jason Momoa and Josh Brolin), and those recurring visions. Dune is one to see on the biggest screen possible. It may teeter on biting off more than it can chew but I’d much rather see a film take chances than try nothing new. (Theatrical version on the big screen, October 23, 2021)

[doomonfilm]

Review : Dune [Part One] (2021)

Let’s go ahead and put it all out on the table... I’m not a big Dune guy.  Be it the divisive David Lynch release (which itself came out after four or so failed attempts by some film history heavy hitters), the extended TV re-cut that Lynch disavows or the 2000 TV mini-series version, I never could find a connection with the property that many hold as the pinnacle of science-fiction storytelling.  Once the word got out that Denis Villeneuve was taking a crack at it, however, my disposition changed completely... despite my disconnection with Dune, I do understand why Hollywood and the like refuse to let the property go, and with Villeneuve’s breathtaking Blade Runner 2049 changing my entire outlook on Blade Runner as a whole, I found myself wrapped up in the multi-year march towards the film’s release.  After a back and forth over whether or not HBOMax would get the rights to a same-day release, everything was set to go for October 22, but with pirates doing pirate things, Dune found itself in the world earlier than expected, so lucky for me, the release date was pushed up roughly 10 hours, allowing me a Thursday viewing prior to my trek to see the film on the big screen.

More so than any other adaptation of Dune, the use of Spice as a table setter for a war of ideals permeates, as this film holds its symbiology and narrative structure in equal measure to its visuals.  Maybe I’m just dense (or much younger and less seasoned of a movie buff), but the parallels to real life counterparts like sage didn’t connect back in the day, in the sense that Spice and sage are both very culturally important to the respective indigenous cultures, while to outsiders, it is seen simply as a resource and a means to a beneficial economic end.  With Spice as the cornerstone element, Villeneuve branches off into two very powerful support structures : the opposition of the regal versus the indigenous (which has been touched upon in all visual adaptations) and the insertion of a third party into historical conflict for auxiliary benefit, specifically when set up under the guise of a diplomatic or goodwill mission.  It doesn’t take a sociologist or political scientist to see the way that 21st Century events have primed us as viewers to resonate much deeper with the narrative subtext that has been present in Dune since (I assume) it’s release as a novel in 1965, and with a director as skilled and passionate as Villeneuve at the helm, I found myself much more invested in his presentation of Dune similar to the way that his stellar Blade Runner 2049 gave me a deeper appreciation of Ridley Scott’s original entry.

Outside of these foundational themes, this version of Dune is the first time that I bought in to the mystic side of the film, which is propped up nicely as a tie-in to Paul’s parallel internal struggles : legacy versus destiny, and fate versus free will.  Again, maybe I was too young to pick up on the expositional elements previously (on top of never having read the books), but the presence of the Bene Gesserit never stood out to me as strongly as it does in this film, and positioning Paul as a young man with personal ideals fighting against two daunting sets of expectations is a wonderful tension builder to help push the more mystical, spiritual and psychological elements to the forefront.  As I never did buy into the other adaptations, I somehow completely missed out on the concept of the Voice, but its presence (and more importantly, its implications in the face of fate versus free will being proposed) create a narrative wild card that is handled quite well and with great restraint.  Perhaps it is something of an unspoken thing in the science-fiction fandom social circles, but I can’t help but think of how much the Bene Gesserit and the Voice feel like DEEP inspiration for the Jedi and the Force, respectively.

Villeneuve has a wonderful knack for beautifully and seamlessly integrating future technologies with traditional moirés and evolution-based constructs, so it makes sense that the multitude of spacecraft, communication systems and armor used in Dune would look as stunning as it does innate... the flutter-wing ships in particular blew my mind.  The use of the “used future” look (a favorite production design choice of mine for science-fiction films) is impressive as well, with most every world appearing very much lived in, including the high society House Atreides.  The cinematography of Greg Fraser is inspired, vivid and dynamic, so much so that I will be surprised if it doesn’t at least garner nominations in most every awards show... I’d be willing to go so far to say that this film will likely win some cinematography awards, including the big ones.  Hans Zimmer also finds a way to step outside of himself, as his score balances his trademark symphonic sound with a very strange onset of synthetic sounds, creating an almost “humanoid music” that is strangely but deeply expressive in a way that I cannot remember experiencing previously.  The costuming is extremely dark, with black being the dominant color on all three sides, but it still manages to have a distinction and visually eloquence form character to character that not only makes each outfit unique, but it gives you a very quick read in terms of where they stand in each particular societal hierarchy.  Be they intentional or otherwise (though I doubt Villeneuve is the type to arbitrarily do anything as a director), I caught what felt like references to Apocalypse Now and Ingmar Bergman’s Trilogy of Faith consistently and throughout multiple aspects of the story.

I’m hard-pressed to think of a cast this strong in any film of the past 20 years, and surprisingly (to me), Timothée Chalamet more than handles the weight of being the centerpiece, as he displays equal parts angst, ambition, frustration and desire with the ease of an actor twice his age and experience.  He plays extremely well opposite Rebecca Ferguson, who channels her inner Liv Ullmann at times by having a reserved nature that is clearly a barrier to a tidal wave of secrets, knowledge and emotion.  The House Atreides triad is completed by Oscar Isaac, who finds a way to balance the dominance and power of a a Duke with the compassion and understanding of a father figure.  Josh Brolin and Dave Bautista stand as counterparts to one another with their deep and intense rage, though Brolin is able to check it and focus it (to an extent), while Bautista plays as someone tethered to it and trying to reel it in.  The film does a great job of paralleling characters, as Stellan Skarsgård and Charlotte Rampling are often contrasted as different versions of shadow rulers that restrain their true powers as a controlling measure while still managing to each be wholly menacing in their own right.  Stephen McKinley Henderson brings tension as a fated figure who seemingly dances with tragedy at every turn, as if his heels on the ground position entails holding up a crumbling tower with his bare hands, and all the while, he performs with a smile that is clearly holding back a breakdown.  Other standout performances include David Dastmalchian (who has been in SEVERAL big budget properties lately), Chang Chen, Sharon Duncan-Brewster, crowd favorite Jason Momoa, Javier Bardem, Babs Olusanmoun, Benjamin Clementine and many more... a special shoutout goes to Zendaya, who didn’t get much to work with in this film, and is clearly setting herself up for a big role in the follow-up, but feels grossly underused in this iteration.

With Legendary Pictures having yet to green-light a follow-up to Dune, we will all have to wait and see if Denis Villeneuve, Zendaya and company get to tell the rest of their story.  I will say this... as mentioned, I never bought into the Dune hype, even though I could tell it clearly held a formidable place in the world of science-fiction, but now I think I am ready to read the book, as this film feels narratively dense in the way that a novel would also tell a story.  On top of the great storytelling elements, the film looks amazing, and I cannot wait for some free time to see it on the big screen.  Definitely check this one out, as it will likely turn out to be one of the biggest films of the year (if not the biggest, depending on what kind of numbers Eternals can put up).