The 2017 edition of the Biennale College – Cinema project, which will include Virtual Reality, will receive essential financing from the European Commission – Connect Directorate General’s Media – Creative Europe Programme. The educational activities of the 2017-2018 edition will thus be funded by a MEDIA grant. This grant is in addition to the funding which the MEDIA Programme has given to the development of the Market and Venice Production Bridge.
The world premiere of 20th Century Fox’s RULES DON’T APPLY — written, directed, produced by and starring AFI Life Achievement Award recipient and Academy Award® winner Warren Beatty — will be the Opening Night Gala of AFI FEST 2016 presented by Audi on Thursday, November 10, at the historic TCL Chinese Theatre in Hollywood, CA.
The cast also includes Academy Award® nominees Alec Baldwin, Annette Bening, Candice Bergen, Steve Coogan and Ed Harris, as well as Haley Bennett, Matthew Broderick, Dabney Coleman, Lily Collins, Alden Ehrenreich, Taissa Farmiga, Megan Hilty, Oliver Platt and Martin Sheen. In the film, an aspiring young actress (Lily Collins) and her ambitious young driver (Alden Ehrenreich) struggle hopefully with the absurd eccentricities of the wildly unpredictable billionaire (Warren Beatty) for whom they work. (See trailer below)
The 30th edition of AFI FEST takes place November 10–17, 2016, in the heart of Hollywood. Screenings, Galas and other events will be held at the TCL Chinese Theatre, the TCL Chinese 6 Theatres, the Egyptian Theatre and the Hollywood Roosevelt Hotel. The full festival lineup and schedule will be unveiled in October.
Head here to purchase festival passes and packages to ensure reserved seats for Opening Night. Passes and packages can include access to sold-out Galas and other high-demand films and events.
As part of their membership benefits, AFI members will receive a complimentary AFI FEST Cinepass, which allows access to all regular screenings and special offers at this year’s festival. AFI members at the Two-Star level and above level receive a 10% discount on all AFI FEST Patron Packages and Express Passes. Information about AFI membership is available at AFI.com/Membership.
Free tickets to AFI FEST will be available to the general public online at AFI.com beginning November 1.
(Source:http://blog.afi.com/)
In competition in the Orizzonti section, Réparer les vivants by Katell Quillévéré (2:30 pm) and Il più grande sogno by Michele Vannucci (5 pm), both in the Sala Darsena theatre.
Among other screenings today, Una hermana by Verena Kuri and Sofía Brockenshire (11:15 am and 6:15 pm) and The Secret Life of Pets by Chris Renaud and Yarrow Cheney (9 pm and 10:45 pm) in the new Sala Giardino theatre.
The PalaBiennale theatre features screenings for the public from 1:15 pm until the double screening starting at 8:15 pm.
See you at the cinema!
For ticket information click here.
(Source:www.labiennale.org)
The Director of the Venice Film Festival, Alberto Barbera, made the following statement about the award: “Amir Naderi gave fundamental impetus to the birth of the New Iranian Cinema during the 1970s and ‘80s with a number of masterpieces destined to leave their mark on the history of cinema, such as Davandeh (The Runner, 1985) and Ab, bâd, khâk (Water, Wind, Dust, 1988). But even after moving to New York in 1988, Naderi remained stubbornly true to himself and to a type of cinema dedicated to research and experimentation, which refuses to bow to trends and easy shortcuts. Every film he has made clearly displays the nucleus of an identical obsession which transcends the principle of reality in order to force individuals beyond their own limits. The last half hour of Monte is a sort of synthesis of his entire opus, a larger-than-life metaphor of a struggle for survival prevailing over the dividing lines, intimidations and insults which can sometimes make human existence miserable. The breathtaking epilogue transforms the ideas, emotions and visions at the basis of all his films into powerfully expressive images. The Jaeger-LeCoultre Award is a well-deserved recognition, a tribute to the originality and greatness of a filmmaker who stands out from the crowd, the talent of a passionate director, and the generosity of a man who seems to know no limits.”
In competition in the Orizzonti section, Home by Fien Troch (2:30 pm) and King of the Belgians by Peter Brosens and Jessica Woodworth (5:00 pm), both in the Sala Darsena theatre.
Among other screenings today, La Soledad by Jorge Thielen Armand (11:30 am and 5:30 pm) and In Dubious Battle by James Franco (9:00 pm) in the new Sala Giardino theatre.
The PalaBiennale theatre features screenings for the public from 1:15 pm until the double screening starting at 8:00 pm.
(Source: http://www.labiennale.org)
Writer/director Paolo Sorrentino has unleashed the first two episodes of a new ten-part series titled, “The Young Pope,” at the 73rd Venice International Film Festival today, September 3rd.
Jude Law plays the central character, Lenny Belardo, aka Pius XIII, the first American Pope in history. Young and charming, his election seems to be the result of a simple yet effective media strategy on the part of the College of Cardinals. But appearances can be deceptive. Above all, in the place and among the people who have chosen the great mystery of God as the compass guiding their existence. That place is the Vatican and those people are the leaders of the Church. And Pius XIII proves to be the most mysterious and contradictory of them all. Shrewd and naïve, ironical and pedantic, primeval and cutting-edge, doubting and resolute, melancholy and ruthless, Pius XIII tries to cross the endless river of human solitude to find a God he can give to mankind. And to himself.
Sorrentino is bound to shock the sensibilities of some of his Catholic viewers with the imagery in the opening sequence. He opens with a baby in a dimly lit St. Peter’s Square crawling over a sea of other babies until we see a man emerge from beneath the pile. A cut is made to Lenny awakening from a sleep and donning the attire of a Catholic Pope. As Lenny leaves his dressing area Sorrentino makes effective use of slow motion as he shows Lenny gracing the Vatican personnel with his presence. He glides across screen from left to right with non-diagetic music to the admiration and respect of the on-lookers until sitting upon his papal chair. He embodies a pious pose while envisioning a lovely topless blonde sitting in a green pasture as he presumably, as a young boy, looks on. He comes to and makes his way to the Papal Balcony where a deafening roar is heard from a rain-soaked crowd waiting to hear his Holiness. The rain stops, the clouds clear and the sun shines forth and again the crowd roars. Lenny as Pius XIII begins a most dynamic and appropriate speech on how he serves God and how he serves the audience before switching it up telling the audience to indulge in forbidden pleasures and desires including masturbation, gay marriage and a free and liberated lifestyle. At this point, his Secretary of State tells Pius he is not the Pope, that the Secretary of State is Pope and that Pius XIII is excommunicated. A cut is made to Lenny awakening from a sleep. From here Sorrentino takes the viewer on a wild ride as he delves into the psychological state of the young pope through moments of Belardo’s introspection and through his interactions with his subordinates.
Cinematographer Luca Bigazzi creates a plethora of luscious visuals throughout the first two episodes seamlessly shown. Laura Rosenthal and Annamaria Sambucco have complied a stellar cast. The cast does look the parts thanks to the work of Carlo Poggioli and Luca Canfora. The musical score by Lele Marchitelli keeps pace with the action. The production design is exquisite and is handled by Ludovica Ferrario. The editing is seamless. Cristiano Travaglioli is credited with editing.
All in all, the Young Pope proved to be highly entertaining. Law brings style and swagger to the role of Lenny. Silvio Orlando brings to life the machinations and cajoling of Secretary of State, Cardinal Voiello and Cecele De France adds nicely to the film’s rich cinematography in close ups as the Vatican Marketer Sofia Dubois. Last and certainly not least, Diane Keaton solidly depicts Sister Mary adding a much needed grounding presence as Sorrentino is not pulling any punches with his attempts for humor. Nevertheless, it is a delightful production with interesting dialogue and a dark, ominous and foreboding first Papal Speech.
My recommendation is don’t miss a chance to see ‘The Young Pope.’ Go for it! God willing…
The Young Pope is a joint Sky, HBO, CANAL+ production and will be broadcast on Sky Atlantic in 5 countries: in Italy from October 21st, in UK, Germany, Ireland and Austria from late October, and in France on CANAL+ from late October.
Director’s Note
“The clear signs of God’s existence. The clear signs of God’s absence. How faith can be searched for and lost. The greatness of holiness, so great as to be unbearable when you are fighting temptations and when all you can do is to yield to them. The inner struggle between the huge responsibility of the Head of the Catholic Church and the miseries of the simple man that fate (or the Holy Spirit) chose as Pontiff. Finally, how to handle and manipulate power in a State whose dogma and moral imperative is the renunciation of power and selfless love towards one’s neighbour. That is what The Young Pope is about”.
Paolo Sorrentino Biography
Paolo Sorrentino, director and screenwriter, was born in Naples in 1970. In 2001, he made his first feature-length film, One Man Up (L’uomo in più), starring Toni Servillo and Andrea Renzi. The movie, selected for the Orizzonti section at the Venice Film Festival, was nominated for three David di Donatello Awards, won a Silver Ribbon for best new director, and two Golden Goblet Awards. In 2004, he directed his second movie, The Consequences of Love (Le conseguenze dell’amore). An in-competition selection at the Cannes Film Festival, the movie received many awards, including five David di Donatello Awards, four Silver Ribbons and five Golden Ciak Awards. In 2006, he made his third feature, The Family Friend (L’amico di famiglia), which was presented in competition at the Cannes Film Festival and later participated at numerous international festivals.
In 2008, Paolo Sorrentino returned for the third time to the Cannes Film Festival in competition with his movie Il Divo, starring Toni Servillo, and was awarded the Prix du Jury. The movie later received seven David di Donatello Awards, five Golden Ciak Awards, five Silver Ribbons, and an Oscar® nomination for Best Achievement in Makeup. In 2010, Feltrinelli published Sorrentino’s first novel, Hanno tutti ragione. The book was a popular and critical success and was a finalist for the Strega Prize. In 2011, This Must be the Place marked Sorrentino’s directing debut in English. Starring Sean Penn and Frances McDormand, the movie was presented in competition at the 64th Cannes Film Festival and received numerous awards, including six David di Donatello Awards, three Silver Ribbons and four Golden Ciak Awards. In 2012, Feltrinelli published Sorrentino’s second book, Tony Pagoda e i suoi amici.
In 2013, The Great Beauty (La grande bellezza), starring Toni Servillo, Carlo Verdone and Sabrina Ferilli, brought Paolo Sorrentino for the fifth time to the Cannes Film Festival in competition. The movie won many awards, including an Oscar® and a Golden Globe® for Best Foreign Language film, a BAFTA for Best Film Not in the English Language, and five important EFA awards, including Best European Film, Best European Director and Best European Actor. The movie was sold to over fifty countries and was in the Top Ten of the best movies of the year, according to the prestigious English magazine “Sight & Sound.” In 2015, Youth (Youth-La giovinezza), Paolo Sorrentino’s second movie in English, starring Michael Caine, Harvey Keitel, Rachel Weisz, Paul Dano and Jane Fonda, was presented in competition at the Cannes Film Festival. It earned three European Film Awards: Best European Film, Best European Director and Best European Actor. The movie also received an Academy Award nomination for Best Original Song and two Golden Globe nominations for Best Supporting Actress and best Original Song, as well as two David di Donatello
Awards and three Silver Ribbons.
(Excerpts from The Young Pope Pressbook)
*Featured image – The Young Pope director Paolo Sorrentino (Courtesy of ASAC/ Gianni Fiorito)
From writer/director Tom Ford comes a haunting romantic thriller of shocking intimacy and gripping tension that explores the thin lines between love and cruelty, and revenge and redemption. Academy Award nominees Amy Adams and Jake Gyllenhaal star as a divorced couple discovering dark truths about each other and themselves in Nocturnal Animals.
Susan Morrow (portrayed by Ms. Adams) lives an incredibly privileged yet unfulfilled life with her husband Hutton Morrow (Armie Hammer). One weekend, as Hutton departs on one of his too-frequent business trips, Susan receives an unsolicited package that has been left in her mailbox. It is a novel, “Nocturnal Animals,” written by her ex-husband Edward Sheffield (Mr. Gyllenhaal), with whom she has had no contact for years. Edward’s note accompanying the manuscript encourages Susan to read the work and then to contact him during his visit to the city. Alone at night, in bed, Susan begins reading. The novel is dedicated to her…
…but its content is violent and devastating, as Edward tells the tale of Tony Hastings (also portrayed by Mr. Gyllenhaal). Driving across a lonely stretch of Texas one night, Tony and his family are harassed by a trio of joyriders, and forced off the road into a confrontation initiated by the gang’s ringleader, the disturbingly insinuating Ray Marcus (Aaron Taylor-Johnson). Tony is all but powerless to act as his family is kidnapped and he is left stranded. When day breaks, Tony manages to reach the police for help, and laconic Lieutenant Bobby Andes (Academy Award nominee Michael Shannon) takes on the case. Andes forges a strong connection with the distraught Tony, and dedicates himself to pursuing the suspects once Tony’s worst fears are realized…
Moved by Edward’s writing, Susan cannot help but reminisce over the most private moments from her own love story with the author. Trying to look within herself and beyond the glossy surface of the life and career that she has made, Susan increasingly interprets the book as a tale of revenge, a tale that forces her to re-evaluate the choices that she has made, and re-awakens a love that she feared was lost – as the story builds to a reckoning that will define both the novel’s hero and her own.
This is a beautifully shot film. With credits being overlaid, the spectacular opening sequence, complete with confetti special effects, not only sets the tone for a splendid cinematic experience, it also provides psychological value into Amy Adams’ character, Susan while illuminating the film’s contextual structure and framework. Furthermore, I can’t say, I’ve seen a better cast film. Jake Gyllenhaal continues to expand his acting repertoire as Edward. Michael Shannon turns in a powerful, tour de force performance as a cancer-striken Texas lawman. Laura Linney nails the role of aristocratic mother to Adam’s Susan – delivering a few of the film’s most memorable lines. But the actor that caught my attention above and beyond was Aaron Taylor-Johnson as a wild, log-haired, maniaical, hellion leading the vicious roadside assault inside Edward’s novel. In addition, Armie Hammer, Isla Fisher, Michael Sheen, Andrea Riseborough, and Karl Glusman all give compelling performances. My hat off to Francine Maisler for her casting.
For a second directorial effort, Ford makes a phenomenal leap. His first effort, A Single Man, starring Colin Firth, is an exceptionally solid film. Most enjoyable with considerable depth. Notwithstanding, Nocturnal Animals is a whole other beast – it’s powerful storytelling with strong production values encapsulated in a style that spans genres utilizing techniques in the form of cross-cutting, parallel story lines, flashbacks and real-time moments without confusion. Brilliant work!
A must see film…
A Focus Features presentation of a Fade To Black production. A Tom Ford Film. Amy Adams, Jake Gyllenhaal. Michael Shannon, Aaron Taylor-Johnson, Isla Fisher, Karl Glusman, Armie Hammer, Laura Linney, Andrea Riseborough, Michael Sheen. Casting by Francine Maisler, CSA. Costume Designer, Arianne Phillips. Music, Abel Korzeniowski. Film Editor, Joan Sobel, ACE. Production Designer, Shane Valentino. Director of Photography, Seamus McGarvey, ASC, BSC. Co-Producer, Diane L. Sabatini. Based upon the novel Tony and Susan by Austin Wright. Produced by Tom Ford, p.g.a., Robert Salerno, p.g.a. Screenplay by Tom Ford. Directed by Tom Ford. A Focus Features Release.
(Excerpt from Nocturnal Animals Press Notes)
Posted by Larry Gleeson
By AFP
VENICE – A bewitching musical starring Ryan Gosling and Emma Stone whipped up a frenzy on the opening day of the Venice film festival Wednesday as it kicked off the race for the Golden Lion.
Damien Chazelle’s “La La Land”, a tribute to the Golden Age of American musicals, reunites the stars, who appeared together in the 2011 romcom “Crazy, Stupid, Love” — but with oodles of singing this time.
The world’s top film critics, gathered on the glamorous Lido di Venezia for the 10-day fest, cheered loudly as Chazelle and Stone met the press following the screening of the joyful, quirky film which won hearts from the opening shot.
This world premier of the tale of a struggling jazz pianist and his actress girlfriend in Los Angeles is the first of 20 films in competition at the 73rd edition of the world’s oldest film festival.
“Now more than ever we need hope and romance on the big screen,” said the American director, 31, a former jazz musician whose second feature film “Whiplash” (2014) received five Academy Award nominations.
“There’s something about musicals, they are movies as a dreamland, expressing a world in which you break into song, in which you can violate the rules of reality,” he said.
– ‘Brand new start’ –
The film pays homage to classic musicals, with nods to scenes from “Singing in the Rain” (1952) and “Grease” (1978) as well as old-timers “Bringing Up Baby” (1938) and “Top Hat” (1935).
Stone plays Mia, a wide-eyed romantic who goes from audition to failed audition in her quest to make it big, while Gosling is Sebastian, a jazz pianist with a mission to save the medium, but who struggles to pay his bills.
The pair meet — in one of L.A’s famous traffic jams and then at a bawdy celebrity party — before wooing each other in tap- and ballroom-dancing sequences reminiscent of American icons Fred Astaire and Ginger Rogers.
“We talked a lot about how to justify doing a musical today. We went back to the old traditions and tried to make it as simple as that. No-one breaks into song unless it’s emotionally justified,” Chazelle said.
In an auspicious start for the Golden Lion bid, the festival’s artistic director Alberto Barbera described “La La Land” as a movie “that does not merely reinvent the musical genre, it gives it a brand new start”.
The picture bursts with enthusiasm and happiness from the opening scene: a big dance number on a freeway with men and women dressed in sun-kissed yellows and rich reds and blues dancing on their cars.
Chazelle said he had brought the love story into the modern day by setting it in L.A., a metropolis he has lived in for almost a decade and which called “a city of loneliness when you first live there, not a city that offers itself up”.
“The idea was to build from all the cliches we make fun of; the traffic, the terrible parties, the celebrity culture, the shallowness. But then see what was beautiful beneath the surface, and reconcile the two,” he said.
“It had to feel like a dream, but one that took place in a real place,” he added, explaining that to get the light right, filming only took place between 6pm and 7pm each day, “much to the frustration of the producers”.
– ‘Absolutely loved it’ –
Stone said she “absolutely loved” the experience.
“I went to see Les Miserables when I was eight. Bursting into song has always been a dream of mine,” she said.
Although the actress from “The Amazing Spider-Man” and “Birdman” recognized her own early experiences in some of Mia’s disastrous auditions, she said “I don’t feel like I was ever quite as brave as she is”.
(Excerpt from: http://www.bangkokpost.com)
La La Land proved to be a tantalizing film on many levels beginning with the opening musical number on the bridge to the mesmerizing closing scene. Along the way the costuming, props and camera work add a distinct flavor setting La La Land apart from its predecessors. If there’s one film to see this year, La La Land is it!
Highly recommended.
Nocturnal Animals 2 © Merrick Morton Universal Pictures International
Absolutely the most excellent cinema! Screening in competition today in the Sala Grande theatre: El Cristo ciego by Christopher Murray (4:45 pm) and Nocturnal Animals by Tom Ford (6:45 pm). At 9:45 pm Persol Tribute to Visionary Talent Award to Liev Schreiber.
In competition in the Orizzonti section: Tarde para la ira by Raúl Arévalo (2:45 pm) and Die Einsiedler by Ronny Trocker (5:00 pm), both in the Sala Darsena theatre.
Among other screenings today, Mukti Bhawan (Hotel Salvation) by Shubhashish Bhutiani (11:15 am and 5:00 pm) and Dawn of the Dead by George Romero, presented by Dario Argento and Nicolas Winding Refn (at midnight) in the new Sala Giardino theatre.
The PalaBiennale theatre features screenings for the public from 1:15 pm until the double screening starting at 8:15 pm.
See you at the cinema!
(Source:www.labiennale.com)