#larrain allen

[lamilanomagazine]

Venezia 80: la selezione ufficiale.

Venezia 80: la selezione ufficiale. Annunciato il programma di Venezia 80 che si terrà dal 30 agosto al 9 settembre. Sono sei i film italiani in gara per il Leone d’oro annunciati dal direttore artistico Alberto Barbera con il presidente della Biennale Roberto Cicutto. In prima mondiale approderà al Lido “Comandante” di Edoardo De Angelis con Pierfrancesco Favino, che sarà il film di apertura e in concorso alla 80esima Mostra del Cinema di Venezia. Gli altri titoli italiani sono “Io Capitano”, di Matteo Garrone; “Finalmente l’alba”, di Saverio Costanzo; “Enea”, opera seconda di Pietro Castellitto, anche protagonista insieme a Benedetta Porcaroli; “Lubo”, di Giorgio Diritti; “Adagio”, di Stefano Sollima con Toni Servillo e Valerio Mastandrea. Tra gli altri titoli annunciati Woody Allen “Coup de Chance”, “The Palace” di Roman Polanski e “L’ordine del tempo”, di Liliana Cavani nella sezione Fuori Concorso. In gara per il Leone d’oro, tra i 23 titoli del concorso oltre ai sei italiani troviamo “Dogman”, di Luc Besson; “Maestro”, la seconda regia dell’attore Bradley Cooper che qui si dedica alla biografia del compositore Bernstein; “Priscilla”, il nuovo atteso film di Sofia Coppola sulla vera storia della moglie di Elvis Presley; ”The Killer”, il nuovo thriller di David Fincher con Michael Fassbender; “Poor Things”, di Yorgos Lantimos con Emma Stone; “El Conde” di Pablo Larrain con un Pinochet vampiro e il biopic “Ferrari”, di Michael Mann con Adam Driver e Penelope Cruz. Venezia 80, il programma ufficiale: Comandante di Edoardo De Angelis The Promised Land di Nikolaj Arcel con Mads Mikkelsen Dogman di Luc Besson con Caleb Landry Jones La Bête di Bertrand Bonello con Léa Seydoux Hors-saison di Stéphane Brizé con Guillaume Canet e Alba Rohrwacher Enea di Pietro Castellitto con un fitto cast in cui figura anche il padre Sergio Maestro di Bradley Cooper con Carey Mulligan, Cooper stesso e non solo. Priscilla di Sofia Coppola Finalmente l’alba di Saverio Costanzo con Lily James, Joe Keery, Alba Rohrwacher, Willem Dafoe Lubo di Giorgio Diritti con Franz Rogowski Origin di Ava DuVernay, regista indipendente afroamericana, per la prima volta a Venezia. The Killer di David Fincher (Netflix). Torna la prima volta da Fight Club (1999), con Michael Fassbender e Tilda Swinton. Memory di Michel Franco con Jessica Chastain. Io capitano di Matteo Garrone. Film italiano ma non in lingua italiana, per scelta del regista. Evil Does Not Exist di Ryusuke Hamaguchi. The Green Border di Agnieszka Holland, girato in semi-clandestinità sul confine bielorusso-polacco. Die Theorie Von Allem di Timm Kröger. Poor Things di Yorgos Lanthimos con Emma Stone, Mark Ruffalo (che non saranno presenti a Venezia, per lo sciopero SAG), Willem Dafoe. El Conde di Pablo Larraín, rivisitazione vampiresca di Pinochet a 50 anni dal colpo di Stato in Cile. Ferrari di Michael Mann con Adam Driver e Penélope Cruz. Adagio di Stefano Sollima con Pierfrancesco Favino, Toni Servillo, Valerio Mastandrea, Adriano Giannini, Francesco Di Leva. Woman of di Małgorzata Szumowska e Michał Englert. Holly di Fien Troch. Fuori concorso: Tra i Fuori Concorso è da menzionare la scelta di due serie tv, I Know Your Soul e D’argent et de sang, quest’ultima che verrà proiettata interamente con tutti i 12 episodi da 50 minuti. Arriverà al Lido anche Woody Allen con Coup de Chance, Wes Anderson con il mediometraggio tratto da una storia di Roald Dahl, The Wonderful Story of Henry Sugar (e un cast stellare) e persino Travis Scott, protagonista di un’opera sperimentale di Harmony Korine (per A24) intitolata Aggro Dr1ft. Grandi nomi fuori concorso sono anche Richard Linklater con Hit Man, Roman Polanski con The Palace e Liliana Cavani, che riceverà il Leone d’oro alla Carriera, con L’ordine del tempo. Atteso anche il sorprendente Quentin Dupieux con Daaaaaalì! Sempre Fuori Concorso sarà anche il film di chiusura (una produzione Netflix), La sociedad de la nieve di J.A. Bayona. Venezia 80, Orizzonti: A Cielo Abierto di Mariana Arriaga e Santiago Arriaga El Paraíso di Enrico Maria Artale Behind the Mountains di Mohamed Ben Attia The Red Suitcase di Fidel Devkota Tatami di Guy Nattiv e Zar Amir Ebrahimi Paradise is Burning di Mika Gustafson The Featherweight di Robert Kolodny Invelle di Simone Massi Hesitation Wound di Selman Nacar Heartless di Nara Normande, Tiao Una sterminata domenica di Alain Parroni City of Wind di Lkhagvadulam Purev-Ochir Explanation for Everything di Gabor Reisz Gasoline Rainbow di Bill Ross, Turner Ross Housekeeping for Beginners di Goran Stolevski En attendant la nuit di Céline Rouzet Hokage – Shadow of fire di Shinya Tsukamoto Dormitory di Nehir Tuna... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[rickyvalero]

Apple TV+ Original Series: Lisey's Story Pilot Review

Apple TV+ Original Series: Lisey’s Story Pilot Review

“Lisey’s Story” is a deeply personal thriller that follows Lisey Landon (Academy Award winner Julianne Moore) two years after the death of her husband, famous novelist Scott Landon (Academy Award nominee Clive Owen). A series of unsettling events causes Lisey to face memories of her marriage to Scott that she has deliberately blocked out of her mind. The tone is set early with a beautiful score…

[kinodiario]

September 2019. Top films

Letterboxd profile

Perfil en Filmaffinity

[maaarine]

MBTI & Directors

INFP

Noah BAUMBACH Tim BURTON Damien CHAZELLE Guillermo DEL TORO Claire DENIS Craig FOSTER Deniz GAMZE ERGÜVEN Michel GONDRY Kate HERRON Spike JONZE Miranda JULY Charlie KAUFMAN Sam LEVINSON David LYNCH Mike MILLS Hayao MIYAZAKI Shirin NESHAT Steven SPIELBERG Lana WACHOWSKI

ENFP

Chantal AKERMAN Danny BOYLE Julie DELPY Xavier DOLAN Lena DUNHAM Greta GERWIG Todd HAYNES Baz LUHRMANN Marjane SATRAPI Tarsem SINGH Agnès VARDA John WATERS

INTP

Woody ALLEN Laurie ANDERSON Wes ANDERSON Ari ASTER Richard AYOADE BONG Joon-ho Ethan COEN Alfred HITCHCOCK Jim JARMUSCH Yorgos LANTHIMOS Bruno MUSCHIO Aaron SORKIN Lars VON TRIER Nicolas WINDING REFN

ENTP

Judd APATOW James CAMERON Alain CHABAT Terry GILLIAM James GUNN Seth MACFARLANE Adam MCKAY Stephen MERCHANT Yann MOIX Trey PARKER Quentin TARANTINO Taika WAITITI Edgar WRIGHT

INFJ

Darren ARONOFSKY Zal BATMANGLIJ Ingmar BERGMAN Cary FUKUNAGA Deeyah KHAN Pablo LARRAIN Kenneth LONERGAN David LOWERY George LUCAS Terrence MALICK Anthony MINGHELLA Sarah POLLEY Robert REDFORD Wim WENDERS

ENFJ

Mike CAHILL George CLOONEY Richard CURTIS Ava DUVERNAY Emerald FENNELL Tom FORD Barry JENKINS Mike NICHOLS Marti NOXON Tyler PERRY Joachim TRIER Olivia WILDE Joe WRIGHT

INTJ

Kathryn BIGELOW David CHASE Brady CORBET David FINCHER Alex GARLAND Peter JOSEPH Stanley KUBRICK Christopher NOLAN

ENTJ

Julia DUCOURNAU Nora EPHRON Jodie FOSTER James GRAY Agnieszka HOLLAND Patty JENKINS Alexander PAYNE Guy RICHIE Ridley SCOTT Steven SODERBERGH Orson WELLES

ISFP

Ryan COOGLER Sofia COPPOLA Richard LINKLATER Sam TAYLOR-JOHNSON

ESFP

Asia ARGENTO Zack SNYDER

ESTP

Michael BAY

ISTJ

Clint EASTWOOD

[emaygaston]

ema y gastón || GANZER F.i.l.m — 2020 en D.e.u.t.s.c.h 4k

⚠ FILM LINK →→  ema y gastón

KINOSTART 12. MÄRZ 2020 REGIE >   P. LARRAIN CAST >    M. DI GIROLAMO, G. GARCÍA BERNAL GENRE >  DRAMA (1 H 42) VERLEIHER > TRIGON

SIEHE FILMTRAILER

Ema ist die Frau von Gastón. Ema tanzt und Choreograf Gastón begleitet die experimentierfreudige Tanztruppe, die alle möglichen Orte der Stadt in Beschlag nimmt. Die beiden hatten Polo adoptiert, einen Knaben kolumbianischer Herkunft. Während zehn Monaten lebte er bei ihnen. Bis Polo sie überforderte. Dann gaben sie den Jungen der Adoptivbehörde zurück. Und jetzt plagt Ema das Verlangen nach ihm.

Ein Film, wie man ihn nicht alle Tage zu sehen bekommt. Ein Liebes-Trip aus dem chilenischen Valparaíso und ein Bewegungsspektakel.

Pablo Larraín gehört zu den herausragenden Regisseuren des lateinamerikanischen Kinos. Kompromisslos geht er seinen Weg und realisiert Filme, die die Möglichkeiten des visuellen Ausdrucks abtasten und ausloten. Sein jüngster Spielfilm EMA Y GASTÓN ist eine Wucht. Larraín taucht ein in ein Bilder-, Klang- und Bewegungsmeer und zieht das Publikum mit in einen Sog der Liebe.

Ema (Mariana Di Girolamo) ist die Frau von Gastón (Gael García Bernal). Ema tanzt und Choreograf Gastón begleitet die experimentierfreudige Tanztruppe, die alle möglichen Orte der Stadt in Beschlag nimmt. Die beiden hatten Polo adoptiert, einen Knaben kolumbianischer Herkunft. Während zehn Monaten lebte er bei ihnen. Doch das Paar war mit dem Jungen überfordert. Am Ende auch mit einander. Ema und Gastón haben den Buben der Adoptiv-Behörde zurückgegeben, und jetzt plagt Ema das Verlangen nach ihm.

Der Film hat viele Gesichter, das macht ihn so faszinierend. Er taucht mit uns Zuschauern ein ins pittoreske Valparaíso. Ema durchlebt einen orgiastischen Liebesrausch mit ziemlich allen Figuren und plädiert damit für ihr Hauptanliegen und das Anliegen ihrer Generation: «Libertad» – Freiheit.

[thegeekshow]

Cinema Eclectica 99 - The Pinnacle of Mount Woody

This week we've got politics and Woody Allen. Lots of Woody Allen ...

We’ve never been accused of being political, but this week we had no choice in the matter. Join us as we talk movie presidents and Pablo Larrain’s American debut “Jackie”, followed by a big old chat about Woody Allen featuring “Zelig”, “Stardust Memories”, and a “Midsummer Night’s Sex Comedy”. Tune in to The Geek Show Podcast Network for all the latest news, discussions and reviews, and follow us…

[sevendeadlyseans]

10 (or 11) Movies Released Last Year That I Really Liked, 2016 Edition

Before I get to my “official” Top 10, one title has been excluded for consideration due to conflict of interest, but would otherwise top my list.  

Darling

Mickey Keating’s 3rd feature (produced by the fabulous Jenn Wexler, a.k.a. my girlfriend) is, of course, my favorite film of the year. I’ve seen it three times in theaters—twice in 2015 on the festival circuit, and again last April on opening night—and still keep finding new, subtle things about it to love.

The story: a young woman is paid to housesit a glorious old building while its eccentric owner is away. Is the house haunted? Is she unhinged? Maybe both? Star Lauren Ashley Carter—rightly recognized as “the Audrey Hepburn of indie horror” by The Austin Chronicle, is in almost every frame of the film and is never short of mesmerizing, whether answering the telephone, putting on make-up or getting her hands dirty by...well, let’s not give away the fun. 

The black and white cinematography is gorgeous, the score crawls under your skin and the editing is legit terrifying. Watch with the lights out.

And now back to our official, less personally biased top 10, in order...

Moonlight

Without question, the most accomplished, most moving film of 2016. 

James Joyce once noted, “In the particular is the universal.” Moonlight is atop my list in no small part because it’s so breathtaking in its particular intimacies. 

Moonlight is like Boyhood on a budget: it drops us into three important periods in the life of a boy who becomes a teen who becomes a man—at first bullied and confused, increasingly neglected by his crack-addicted mother and influenced by a kind-hearted, drug-dealing surrogate father. We see him harden, over time, under the pressure of a world with no use for softness, and then, perhaps, reconnecting with a lost bit of himself, at long last.  

Writing that synopsis, it strikes me how easily such a story could have tipped into cliché and melodrama. Perhaps because writer/director Barry Jenkins and playwright Tarell Alvin McCraney are both from the Liberty City projects themselves. their knowledge—coupled with a great cast, an impeccable soundtrack, a deft use of color and Jenkins’ masterful control of tone—l gives Moonlight specificity, and that makes it universal.

Jackie

Tone is a theme for the first three films on my 2016 list—four if you count Darling, and you most definitely should. Pablo Larrain’s Jackie puts us inside the experience of First Lady Jackie Kennedy in the aftermath of JFK’s assassination, in a way I never thought I could experience:

Your husband was just murdered; his blood is on your dress. Your life is cracked, and even if you put the pieces back together, nothing will ever be the same. Oh, and he’s the president—was the president—so your country is broken, too. History has its eye on you, so while the crushing weight of grief bears down, try to look good for the cameras. It’s only his legacy at stake.

It seems ludicrous to say that Oscar-nominated Natalie Portman is underrated, but somehow she is—and I adored her in Black Swan. In Jackie, she’s working at another level. Open and wounded when no one but us can see, calculating and brittle and angry before an eager reporter. I am excited to see Portman does next.

Special mention to Mica Levi’s score, her second feature after 2013′s Under the Skin. Can’t wait to hear what she does next, too. 

The Witch

Someone had the terrible idea to market The Witch as “the year’s scariest movie.” It’s not, nor is it trying to be. It is, however, among the most unsettling films of this year or any other. (Again: tone.)  

The story: it’s 17th century New England. William, his wife Katherine, and their five children have been kicked out of the settlement being too religious (it seems, or perhaps just too self-righteous) and must find a way to survive on their own on the fringes of the deep, dark wood. 

Before you have time to wonder if the titular witch might be metaphoric, she shows up and does something unspeakable to William and Katherine’s newborn son. Things go downhill from there, exacerbated by both outside, malevolent forces and unacknowledged tensions within the family unit.

The Witch looks gorgeous, as well it should. First-time director Robert Eggers made his bones as a production and costume designer, and reportedly built an actual, mostly working 17th century farm for the film. Even the dialogue itself was built out of scraps of things people wrote and said back then. You can feel the authenticity, which makes the family’s isolation feel that much more acute and dangerous. 

O.J.: Made in America

Bob Dylan never asked “How many minutes does a film have to be, before we can call it TV?” but the answer, my friend, is probably not much more than the 467 minute runtime of Ezra Edelman’s O.J.: Made in America. (For comparison, that’s almost 3 hours longer than a full season of HBO’s Veep.)

It doesn’t help that it was produced by ESPN, or that it aired on that cable network less than a month after it’s Oscar-qualifying theatrical run. And yet...it was my favorite documentary in a year of many great docs (more on that later), so if wants to call itself a movie, I’ll roll with it.

2014 marked the 20th anniversary of the murders. The revived attention around the so-called “trial of the century” led to two great works of art, Edelman’s doc and FX’s American Crime Story: The People vs. O.J. Simpson. (One can only wonder how our present political moment will be filtered through the culture of 2018).

Rather than produce O.J. overload, the two projects complement one another—the dramatic series taking us inside the lives and hearts of key figures on both legal teams, while the doc simultaneously expands the scope and deepens the focus—showing us more about who O.J. was before, during and after, and what America was and still is, especially but not only in Los Angeles, but also in Ferguson, on Staten Island, everywhere. If it takes Edelman 8 hours to set up all details to knock us down with his larger point, well, that’s 8 hours well spent. 

Trailer: https://www.youtube.com/watch?v=HrB3rOcrJxg&list

The Lobster

Yorgos Lanthimos’ Dogtooth was one of my favorite movies of 2010. He’s back on the list with a film that’s just as strange but far more accessible. 

I love absurdism, deadpan humor, magical realism and dystopian fantasy, but I can’t recall a film that manages the trick of juggling all three at once as The Lobster does—with an honest-to-goodness love story right there in the middle.

I’ll skip the premise—if you don’t know it, watch the trailer. 

The cast is great, and Colin Farrell is a revelation, topping my previous Farrell favorite, the criminally under seen In Bruges. Lanthimos packs the film with small details that make the surreal world of The Lobster believable. The first shot packs an entire story of love, betrayal and murder (which is never revisited) into a single, long take. And its final, wrenching moments will stay with me forever. 

Film critic Britt Hayes got to the heart of the filmmaker’s uncanny alchemy when she noted “Lanthimos doesn’t heighten reality to an absurd degree; he heightens the absurdity of our existing reality.” Or put another way, he doesn’t add absurdity, he just turns the heat up on reality and our own absurdity bubbles to the surface.

Trailer: https://www.youtube.com/watch?v=LTNZmOJxuAc

Hail, Caesar!

There’s this other movie that’s sort of a throwback to old Hollywood, with some singing and dancing in it. That movie’s fine, but don’t hold your breath, it didn’t make my list. For my money, the real love letter to Hollywood—and why the movie industry matters—came from the Coen Brothers. 

Now, it wouldn’t be a Coens movie if that tender heart weren’t covered under many layers of arch cynicism, stylized reference bordering on “acting” “in” “quotation” “marks” and the occasional silliness. But you don’t have to peel much of it away to see the real love they have for not just the magic of movies but also the joy in so many abandoned film genres that once ruled the box office—be they Gene Kelly musicals, Gene Autry oaters or C.B. DeMille bible epics, to name but a few recreated here. 

For me, Hail, Caesar! sits perfectly between the sour cynicism of the Hollywood in Woody Allen’s misanthropic Cafe Society and the false romanticism of the ambition-for-ambition’s sake “dreamers" of La La Land who prize the warmth of the spotlight over any real human affection. 

Trailer: https://www.youtube.com/watch?v=1NYpz_j3e38

13th

Ava DuVernay’s 13th is a civics lesson for a country in dire need of one. With a controlled but searing ferocity, the documentary lays out the case that the 13th amendment allowed the continuation of a system of oppression and control not all that from slavery: the criminal justice system. If you haven’t read your Constitution lately, here’s a refresher on the 13th, the amendment that ostensibly ended slavery:

“Neither slavery nor involuntary servitude, except as a punishment for crime whereof the party shall have been duly convicted, shall exist within the United States, or any place subject to their jurisdiction.”

This one, terrible clause not just perpetuated slavery under another name but incentivized an expansion of the definition of criminality, in order to profit from the subjugation of mostly brown and black bodies, which has led to an explosion in America’s incarcerated population. In effect, through laws designed to maintain segregation, blackness itself has been criminalized.

With Jim Crow, redlining, lynching (terrorism by another name) and the like, the 13th has led to a more unequal society—and, indirectly, to leaders who lie and stoke racial, as well as religions and ethnic, divisions in order to maintain the ever-growing class divide from which they profit. 

This poor summation doesn’t do justice to the full weight of the case DuVernay and her experts make, or how well they make it. 13th should be required viewing by everyone, but most of all by those who hold the power to make and enforce the law.

Trailer: https://www.youtube.com/watch?v=V66F3WU2CKk

The Love Witch

Let’s start with the obvious: Anna Biller’s The Love Witch is a gorgeous film. Turn the sound off, re-order the scenes at random and you still can’t take your eyes off what looks like a lost Technicolor American Giallo from 1972. Biller not only wrote, edited and directed the film but also handled production design, art direction, set decoration and costuming, almost single-handedly crafting one of the best looking films of 2016. 

Beneath that dazzling frosting is a rich, feminist layer cake. Elaine is a witch specializing in sex magic, who believes her path to happiness lies in finding the right man, seducing him and pleasing him in every way. On paper, she’s a patriarchy’s dream come true. But when these lustful men inevitably fall short—as they all must, as patriarchy itself is built on a lie—she gets rid of them, permanently. Poor, unfulfilled Elaine. 

The Love Witch is Biller’s own magic trick, casting its spell over us with its color, its throwback ‘70s sexploitation vibe and its razor-sharp message we don’t notice until the blade has slid, quietly, between our ribs and stabbed us in the heart. Metaphorically.

Trailer: https://www.youtube.com/watch?v=bXjDEDYlu7c

I, Daniel Blake

Daniel Blake has spent a lifetime working with his hands, supporting a modest but pleasant life for himself and his late wife. After a heart attack, his doctors tell him he’s not fit to return to work—yet with a simple questionnaire (and absent any input from his doctors), the government’s welfare bureau deems him too fit to qualify for disability. 

He can apply for unemployment benefits, but only if he’s actively seeking work—work which, according to his doctors, he can’t accept. Caught in a catch-22, he must appeal to an unreachable “decision-maker” for relief—provided he can find a way, without income or assistance, to get by while he waits. Then Daniel meets a single mother in stuck in a similar situation and does his best to help her struggling family, even as his own situation grows worse.

Ken Loach’s drama won the Palm D’Or at Cannes but has received not much notice since then, at least outside the UK, perhaps because of the specific criticism of the British welfare bureaucracy at the heart of the story. But you don’t need much imagination to see how things can be as bad or worse for the many Daniel Blakes of this country.

Loach has been making socially conscious films about the struggles of the working and lower classes for longer than I’ve been alive. As with Jenkins and Moonlight, it’s clear Loach knows this world, these people and their struggles, and knows how to tell their particular stories in a simple yet powerful, moving and universal way.

Trailer: https://www.youtube.com/watch?v=f4KbJLpu7yo

The Handmaiden

Apologies if you’re getting whiplash. I went from a highly stylized Love Witch to a pared-down I, Daniel Blake. Now I’m going to swing back the other way with Park Chan-Wook’s sensual, sensuous The Handmaiden. 

As has been the case in years prior, the 10th (really, 11th) and final spot on my list could have gone to a number of worthy films, and almost did—I began writing up another film here before realizing there’s no way I could round out 2016 without giving The Handmaiden its due.  (Sorry, Elle!)

The story of The Handmaiden is...too complex to go into here, frankly. There’s a con man and his female accomplice. There’s a rich heiress and her controlling uncle. Some of them are Japanese occupiers; others native Koreans. Oh, ands there’s a library of dirty, dirty books. 

Cons are conned, crosses are doubled, no one is quite who they pretend to be and everyone is up to something. In the end, something real is found and, through it, freedom is won.

The Handmaiden is a thriller as elegant as it is perverse. Every change in perspective brings new meaning to all that’s come before. Every twist revealed is a delight. Park Chan-Wook is at the top of his game.

Trailer: https://www.youtube.com/watch?v=Q4Z5jfjxdvQ

Honorable Mentions & More 

Wait, don’t get up. There’s more! 

First, let’s start with honorable mentions that you already know are great: 

Paul Verhoeven’s psychological thriller Elle, which features Isabelle Huppert in one of my favorite performances of the year, or maybe ever.

Denis Villeneuve’s Arrival, which goes on my list of essential smart science fiction, along with Gattaca, Ex Machina, Primer and Under the Skin, to name a few.

Sing Street, one of the most joyful films of the year. A misfit ‘80s Irish teen starts a band so he can cast the girl he likes in their highly creative music videos. From John Carney, the filmmaker behind the equally charming Once.

Nicolas Winding Refn’s mad look at fashion, envy and unchecked ambition (kind of the anti-La La Land?), The Neon Demon.  

Next, films that might have been off your radar but are well worth seeking out:

Benjamin Dickinson’s Creative Control, a very-near-future sci-fi film about augmented reality, and the augmented lives we all want to pretend we’re living (at least on Instagram). A must-see for all my friends in media, marketing or technology. 

Elizabeth Wood’s directorial debut, White Girl, in which a New York City undergrad moves to Queens, dates her local corner drug dealer and learns first hand the limits of her privilege in both their lives.

Taika Waititi’s The Hunt for the Wilderpeople, a reluctant buddy comedy/coming-of-age film that’s way more fun than it has any right to be.

Todd Solondz’s Weiner-Dog, a dark, dark comedy stringing together four tales of unhappy people, all of whom at one point own the same sad canine. Or, for you hard-core cineastes: Au Hasard Dachshund.

American Honey, Andrea Arnold’s sprawling tale of wayward youth living for the moment across a vast swath of America, high and low.

The animated documentaries Tower, which looks back on America’s first campus mass shooting in a surprisingly moving way, and Nuts!, which is the rare doc with an unreliable narrator, which fits the unreliable (Trump-like) conman at the center of its story. 

Julian Rosefeldt’s Manifesto, which I was fortunate enough to experience as a multi-screen installation at the Park Avenue Armory but has been adapted (rather successfully, it seems) as a traditional film. Either way, Cate Blanchett takes on a dozen different guises in a sequence of stunning short films, the text of each comprised of bits of famous manifestos, from Karl Marx’s Communist Manifesto to Jim Jarmusch’s Golden Rules of Filmmaking. 

And last, because the horror genre in near and dear to my heart, here’s #4-#10 on my year’s best horror list. (The top 3 being Darling, The Witch and The Love Witch.)

The Invitation

Green Room

Demon

Under the Shadow

Train to Busan

10 Cloverfield Lane

Southbound

Honorable mention: the “Happy Father’s Day” segment of Holidays

Past years: 2015, 2014, 2013, 2012, 2011, 2010, 2009, 2008

[mariaaxelsson]

Photo exhibition: Tate Modern

The other day I visited Tate Modern, where I found some really nice photographs.

Image 1: “Memory” by Daido Moriyama. I think these pictures are so cool! The contrast between black and white, the fact that you can’t really see what everything is and the compositions. I also like how they look together as two big pictures.

Image 2: First picture: “London” by Sergio Larrain, second picture: “Hampstead Heath Fair” by Wolfgang Suschitzky, third picture: “Bus Stop, London” by Elliott Erwitt, fourth picture: “London” by Allen Auerbach. Minimalistic pictures of every-day events.

Image 3: “Art Forms in Nature” by Karl Blossfeld. Minimalistic and “clean” pictures of different botanicals. I like how simple the individual pictures are, and how they together as a whole looks really harmonic. The framing and composition of the pictures look really good. 

[movietvtechgeeks]

Latest story from https://movietvtechgeeks.com/moonlight-pushes-la-la-land-spotlight-spirit-awards-2017/

'Moonlight' pushes 'La La Land' from spotlight at Spirit Awards 2017

One night before the Oscars, "La La Land" had to take a backseat to "Moonlight" at the 2017 Film Independent Spirit Awards. The film took six awards even pushing the other Academy Award favorite "Manchester by the Sea" back. It won every award it was nominated for at the 32nd Annual indie award show. "Moonlight" focuses on a young black boy living in an impoverished Miami neighborhood as he deals with his sexuality won for best feature, best director and best screenplay for Barry Jenkins, who wrote and directed it. Film also won for cinematography and edition along with ensemble cast. ”This movie exists as a beacon of inclusivity,” Jenkins said. Now, the film goes into competition for eight Oscars Sunday night, including Best Picture. The Spirit Awards has seen the last three winners for Best Feature (Spotlight, Birdman, 12 Years A Slave) go on to win the Best Picture Oscar, so odds are up for "Moonlight." As with every award show, politics does come into the picture. Casey Affleck, who won best actor for "Manchester by the Sea," wore a shirt with the word "love" in Arabic. "The policies of this administration are abhorrent and will not last," said Affleck, accepting his award. Backstage, he spoke about "the torrent of terrifying news that comes out of Washington every day" Host Nick Kroll and John Mulaney maintained a rigorously irreverent tone through a ceremony often punctuated by belly laughs. In their opening monologue, Kroll mockingly defended the common charge of "liberal elitism" often thrown at Hollywood events like the Spirits. "We're not in a bubble. We're in a tent," said Kroll, referring to the Spirits' Santa Monica, Calif., home. "We're fringe artists on a California beach. If we leaned any further to the left, we'd topple into the ocean." Instead of a lengthy in memoriam reel, they opted instead for a highlight of those who didn't die, singling out Milos Foreman and Tim Allen while Andy Samberg, doing his best Eddie Vedder, sang Pearl Jam's "Alive." Best actress went to Isabelle Huppert, the French actress of "Elle," who bested Natalie Portman and Annette Bening. Just as Affleck wasn't up against Oscar favorite Denzel Washington in best actor, the best actress category was missing Emma Stone of "La La Land." Molly Shannon, the former "Saturday Night Live" cast member, supplied one of the afternoon's highpoints. She was visibly overjoyed by winning best-supporting actress for her performance in "Other People." She concluded her speech by exclaiming, "I really truly feel like a ... SUPERSTAR!" - aping her old "SNL" character. Other awards also went to films far outside the Oscar candidates. Robert Eggers' well-researched "The Witch," set in 17th century Massachusetts, won for both best first feature and best first screenplay. He thanked the Puritans for "writing down so much stuff." Ezra Edelman's "O.J.: Made in America" took best documentary. Best foreign language film went to Maren Ade's "Toni Erdmann." The Cassavetes Award, which honors the best feature made for less than $500,000 went to Andrew Ahn's Korean gay-immigrant drama "Spa Night." Taking the stage, Ahn first remarked, "I'm going to barf," but quickly collected himself, speaking tenderly about his parents' acceptance of their gay son and the need for acceptance of immigrants, gays and other communities. "We are part of this great country," said Ahn. "And we are undeniable."

Full list of 2017 Spirit Awards Winner (winners are bolded):

BEST FEATURE Moonlight Jackie Manchester by the Sea American Honey Chronic BEST DIRECTOR Andrea Arnold – American Honey Barry Jenkins – Moonlight Pablo Larrain – Jackie Jeff Nichols – Loving Kelly Reichardt – Certain Women BEST FEMALE LEAD Annette Bening – 20th Century Women Isabelle Huppert – Elle Sasha Lane – American Honey Ruth Negga – Loving Natalie Portman – Jackie BEST MALE LEAD Casey Affleck – Manchester by the Sea David Harewood – Free In Deed Viggo Mortensen – Captain Fantastic Jesse Plemons – Other People Tim Roth – Chronic BEST SUPPORTING FEMALE Edwina Findley – Free In Deed Paulina Garcia – Little Men Lily Gladstone – Certain Women Riley Keough – American Honey Molly Shannon – Other People BEST SUPPORTING MALE Ralph Fiennes – A Bigger Splash Ben Foster – Hell or High Water Lucas Hedges – Manchester by the Sea Shia LaBeouf – American Honey Craig Robinson – Morris from America BEST FIRST FEATURE Swiss Army Man The Childhood of a Leader The Fits Other People The Witch BEST SCREENPLAY Barry Jenkins – Moonlight Kenneth Lonergan – Manchester by the Sea Mike Mills – 20th Century Women Ira Sachs & Mauricio Zacharias – Little Men Taylor Sheridan – Hell or High Water BEST FIRST SCREENPLAY Robert Eggers – The Witch Chris Kelly – Other People Adam Mansbach – Barry Stella Meghie – Jean of the Joneses Craig Shilowich – Christine BEST CINEMATOGRAPHY Ava Berkofsky – Free In Deed Lol Crawley – The Childhood of a Leader Zach Kuperstein – The Eyes of My Mother James Laxton – Moonlight Robbie Ryan – American Honey BEST EDITING Matthew Hannam – Swiss Army Man Jennifer Lame – Manchester by the Sea Joi McMillon & Nat Sanders – Moonlight Jake Roberts – Hell or High Water Sebastián Sepúlveda – Jackie BEST DOCUMENTARY The 13th Cameraperson I Am Not Your Negro O.J.: Made in America Sonita Under the Sun BEST INTERNATIONAL FILM Aquarius (Brazil) Chevalier (Greece) My Golden Days (France) Toni Erdmann (Germany and Romania) Under the Shadow (Iran and U.K.) ROBERT ALTMAN AWARD (Best Ensemble) Moonlight JOHN CASSAVETTES AWARD (Best Feature Made For Under $5,000) Free In Deed Hunter Gatherer Lovesong Nakom Spa Night KIEHL’S SOMEONE TO WATCH AWARD Andrew Ahn – Spa Night Claire Carré – Embers Anna Rose Holmer – The Fits Ingrid Jungermann – Women Who Kill

Movie TV Tech Geeks News

[emaygaston]

Online Film Deutsch ema y gastón Ganzer » Film HD”4k Streamcloud

⚠ FILM LINK →→  ema y gastón

KINOSTART 12. MÄRZ 2020 REGIE >   P. LARRAIN CAST >    M. DI GIROLAMO, G. GARCÍA BERNAL GENRE >  DRAMA (1 H 42) VERLEIHER > TRIGON

SIEHE FILMTRAILER

Ema ist die Frau von Gastón. Ema tanzt und Choreograf Gastón begleitet die experimentierfreudige Tanztruppe, die alle möglichen Orte der Stadt in Beschlag nimmt. Die beiden hatten Polo adoptiert, einen Knaben kolumbianischer Herkunft. Während zehn Monaten lebte er bei ihnen. Bis Polo sie überforderte. Dann gaben sie den Jungen der Adoptivbehörde zurück. Und jetzt plagt Ema das Verlangen nach ihm.

Ein Film, wie man ihn nicht alle Tage zu sehen bekommt. Ein Liebes-Trip aus dem chilenischen Valparaíso und ein Bewegungsspektakel.

Pablo Larraín gehört zu den herausragenden Regisseuren des lateinamerikanischen Kinos. Kompromisslos geht er seinen Weg und realisiert Filme, die die Möglichkeiten des visuellen Ausdrucks abtasten und ausloten. Sein jüngster Spielfilm EMA Y GASTÓN ist eine Wucht. Larraín taucht ein in ein Bilder-, Klang- und Bewegungsmeer und zieht das Publikum mit in einen Sog der Liebe.

Ema (Mariana Di Girolamo) ist die Frau von Gastón (Gael García Bernal). Ema tanzt und Choreograf Gastón begleitet die experimentierfreudige Tanztruppe, die alle möglichen Orte der Stadt in Beschlag nimmt. Die beiden hatten Polo adoptiert, einen Knaben kolumbianischer Herkunft. Während zehn Monaten lebte er bei ihnen. Doch das Paar war mit dem Jungen überfordert. Am Ende auch mit einander. Ema und Gastón haben den Buben der Adoptiv-Behörde zurückgegeben, und jetzt plagt Ema das Verlangen nach ihm.

Der Film hat viele Gesichter, das macht ihn so faszinierend. Er taucht mit uns Zuschauern ein ins pittoreske Valparaíso. Ema durchlebt einen orgiastischen Liebesrausch mit ziemlich allen Figuren und plädiert damit für ihr Hauptanliegen und das Anliegen ihrer Generation: «Libertad» – Freiheit.

[emaygaston]

STREAM  Voller film ema y gastó Deutsch HD

⚠ FILM LINK →→  ema y gastón

KINOSTART 12. MÄRZ 2020 REGIE >   P. LARRAIN CAST >    M. DI GIROLAMO, G. GARCÍA BERNAL GENRE >  DRAMA (1 H 42) VERLEIHER > TRIGON

SIEHE FILMTRAILER

Ema ist die Frau von Gastón. Ema tanzt und Choreograf Gastón begleitet die experimentierfreudige Tanztruppe, die alle möglichen Orte der Stadt in Beschlag nimmt. Die beiden hatten Polo adoptiert, einen Knaben kolumbianischer Herkunft. Während zehn Monaten lebte er bei ihnen. Bis Polo sie überforderte. Dann gaben sie den Jungen der Adoptivbehörde zurück. Und jetzt plagt Ema das Verlangen nach ihm.

Ein Film, wie man ihn nicht alle Tage zu sehen bekommt. Ein Liebes-Trip aus dem chilenischen Valparaíso und ein Bewegungsspektakel.

Pablo Larraín gehört zu den herausragenden Regisseuren des lateinamerikanischen Kinos. Kompromisslos geht er seinen Weg und realisiert Filme, die die Möglichkeiten des visuellen Ausdrucks abtasten und ausloten. Sein jüngster Spielfilm EMA Y GASTÓN ist eine Wucht. Larraín taucht ein in ein Bilder-, Klang- und Bewegungsmeer und zieht das Publikum mit in einen Sog der Liebe.

Ema (Mariana Di Girolamo) ist die Frau von Gastón (Gael García Bernal). Ema tanzt und Choreograf Gastón begleitet die experimentierfreudige Tanztruppe, die alle möglichen Orte der Stadt in Beschlag nimmt. Die beiden hatten Polo adoptiert, einen Knaben kolumbianischer Herkunft. Während zehn Monaten lebte er bei ihnen. Doch das Paar war mit dem Jungen überfordert. Am Ende auch mit einander. Ema und Gastón haben den Buben der Adoptiv-Behörde zurückgegeben, und jetzt plagt Ema das Verlangen nach ihm.

Der Film hat viele Gesichter, das macht ihn so faszinierend. Er taucht mit uns Zuschauern ein ins pittoreske Valparaíso. Ema durchlebt einen orgiastischen Liebesrausch mit ziemlich allen Figuren und plädiert damit für ihr Hauptanliegen und das Anliegen ihrer Generation: «Libertad» – Freiheit.

[emaygaston]

HD ~GANZER!! ema y gastón Stream KinoX Deutsch `2020`HD

⚠ FILM LINK →→  ema y gastón

KINOSTART 12. MÄRZ 2020 REGIE >   P. LARRAIN CAST >    M. DI GIROLAMO, G. GARCÍA BERNAL GENRE >  DRAMA (1 H 42) VERLEIHER > TRIGON

SIEHE FILMTRAILER

Ema ist die Frau von Gastón. Ema tanzt und Choreograf Gastón begleitet die experimentierfreudige Tanztruppe, die alle möglichen Orte der Stadt in Beschlag nimmt. Die beiden hatten Polo adoptiert, einen Knaben kolumbianischer Herkunft. Während zehn Monaten lebte er bei ihnen. Bis Polo sie überforderte. Dann gaben sie den Jungen der Adoptivbehörde zurück. Und jetzt plagt Ema das Verlangen nach ihm.

Ein Film, wie man ihn nicht alle Tage zu sehen bekommt. Ein Liebes-Trip aus dem chilenischen Valparaíso und ein Bewegungsspektakel.

Pablo Larraín gehört zu den herausragenden Regisseuren des lateinamerikanischen Kinos. Kompromisslos geht er seinen Weg und realisiert Filme, die die Möglichkeiten des visuellen Ausdrucks abtasten und ausloten. Sein jüngster Spielfilm EMA Y GASTÓN ist eine Wucht. Larraín taucht ein in ein Bilder-, Klang- und Bewegungsmeer und zieht das Publikum mit in einen Sog der Liebe.

Ema (Mariana Di Girolamo) ist die Frau von Gastón (Gael García Bernal). Ema tanzt und Choreograf Gastón begleitet die experimentierfreudige Tanztruppe, die alle möglichen Orte der Stadt in Beschlag nimmt. Die beiden hatten Polo adoptiert, einen Knaben kolumbianischer Herkunft. Während zehn Monaten lebte er bei ihnen. Doch das Paar war mit dem Jungen überfordert. Am Ende auch mit einander. Ema und Gastón haben den Buben der Adoptiv-Behörde zurückgegeben, und jetzt plagt Ema das Verlangen nach ihm.

Der Film hat viele Gesichter, das macht ihn so faszinierend. Er taucht mit uns Zuschauern ein ins pittoreske Valparaíso. Ema durchlebt einen orgiastischen Liebesrausch mit ziemlich allen Figuren und plädiert damit für ihr Hauptanliegen und das Anliegen ihrer Generation: «Libertad» – Freiheit.