Literary film – Litary http://litary.net/ Wed, 18 May 2022 02:02:04 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://litary.net/wp-content/uploads/2021/11/cropped-icon-1-32x32.png Literary film – Litary http://litary.net/ 32 32 Best Horror Movie Performances by Military Veterans https://litary.net/best-horror-movie-performances-by-military-veterans/ Tue, 17 May 2022 22:54:24 +0000 https://litary.net/best-horror-movie-performances-by-military-veterans/

Actors in a horror movie can usually go one of two ways, serious and believable or camp-made. These actors and military veterans played the roles with seriousness, method and professionalism, which makes them memorable. More so, many actors and veterans had lived through serious life experiences, sometimes in times of war, which may have added to the depth of their portrayals and art.

  1. Christopher Lee as Dracula.
Lee as Dracula. Photo courtesy of screenrant.com.

Christopher Lee has had an incredible career as an actor, from his roles in major British films to franchises such as star wars, The Lord of the Rings and The Hobbit. He is known worldwide for his acting prowess and screen presence. His acting abilities were no more on display than during his ten screen appearances as Count Dracula. The man embodied evil, suavity and class in his portrayal, which spanned almost two decades of his career. He honed his ability to play a villain that would later be exhibited in Star Wars Episodes II and III.

Lee served in the Finnish Army, British Home Guard and Royal Air Force, mostly during World War II. He was involved in many intense operations as the Allies recaptured Europe from the Nazis.

2. Jack Nicholson as Jack Torrance in the brilliant.

Best Horror Movie Performances by Military Veterans
Nicholson as Jack Torrance in The Shining. Photo courtesy of independent.co.uk.

Nicholson has had a prolific career spanning decades and roles, some of which are villains, though none take the cake like his performance as Jack Torrance in the brilliant. The film grew out of a great novel of the same name by horror literature master Stephen King and is then directed by the one and only Stanley Kubrick. Nicholson’s delivery is so flawless and memorable that the film ranks in the top 75 greatest films of all time and is protected in the National Film Registry by the Library of Congress, not to mention its IMDB rating of 8.4. /10 and its 85% Rotten Tomatoes score. also with an audience score of 93%. Nicholson has so many quotable lines and historical scenes, it’s hard to top.

Nicholson served in the California Air National Guard from the late 1950s to the early 1960s.

3. Lance Henriksen as Bishop in aliens.

Best Horror Movie Performances by Military Veterans
Henriksen (left) as Bishop on screen with Sigourney Weaver (right) as Ripley and Carrie Henn (center) as Newt in aliens. Photo courtesy of robf.com.au.

Lance Henriksen is another horror movie staple with his performance in the sci-fi horror film, aliens. Cameron Takes Script To New Heights After Ridley Scott Premiere Extraterrestrial film. Henriksen’s role as Bishop sheds light on how AI could work in sync with humans and the likely benefits of AI in supporting humanity. He embodies the character with depth, ease and humanity, which is a rare combination. He continued his role as bishop, in one form or another, in some of the sequels of aliens.

Henriksen served in the United States Navy from 1955 to 1958, attaining the rank of petty officer third class.

4. Donald Pleasance as Dr. Loomis in The Halloween franchise.

Best Horror Movie Performances by Military Veterans
Pleasance as Dr. Loomis in his many appearances in the Halloween franchise. Photo courtesy of twitter.com.

Pleasance transitions into a solid performance, but with diminishing storyline and production quality as the series progressed, throughout the premiere. Halloween franchise from the late 70s to the mid 90s. He plays Dr. Loomis with conviction and depth, which adds a lot to each of the episodes of the series. He is a mainstay and truly spells out the horror that will ensue due to Michael Myers’ escape from incarceration. Pleasance can be seen in other classics such as The great Escape and as the Bond villain, Blofeld in you only live twice.

Pleasance served in the Royal Air Force during the Second World War. He was shot during the war, captured by the Germans, and spent time in a POW camp. He put on plays for his fellow inmates at the camp, which may have been part of his inspiration to star in The great Escape.

5. Dark Horse Nominee: Tom Savini as “Sex Machine” in From dusk to dawn.

Best Horror Movie Performances by Military Veterans
Tom Savini as “Sex Machine” in From dusk to dawn. Photo courtesy of Pinterest.com.

Tom Savini has made a career out of makeup, special effects and comedy for horror films. He worked on some of the best of all time, including dawn of the dead, horror show and Friday 13 I and IV. He played a fun and memorable role in From dusk to dawn like Sex Machine, which was based on his dawn of the dead character, Blades. Although his character valiantly fights vampires in From dusk to dawnhe ends up being bitten by one and turns into a bloodsucker that Clooney and company have to deal with.

Savini served in the US Army during the Vietnam War as a photographer. He used his experiences with war and death in his gory makeup effects. To quote his 2002 interview with the Pittsburgh Post, “When I was in Vietnam, I was a combat photographer. My job was to photograph images of damage to machines and people. Through my lens I’ve seen hideous things [stuff]. To deal with it, I guess I tried to think of it as special effects. Now, as an artist, I just think about creating the effect within the limits that we have to deal with.

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The Harry Potter book with the worst film adaptation according to fans https://litary.net/the-harry-potter-book-with-the-worst-film-adaptation-according-to-fans/ Mon, 16 May 2022 20:41:00 +0000 https://litary.net/the-harry-potter-book-with-the-worst-film-adaptation-according-to-fans/

In a “Harry Potter” Reddit thread, u/BoneyRL ranked “Harry Potter and the Half-Blood Prince” as the worst film adaptation, citing its “disappointing” storytelling. Other users concurred with this assessment, condemning the film for its truncated narrative. Like u/Genealogy-1 wrote: “I agree, the best are the ones where they really stick to the book, the costumes (especially the uniforms) and the sets. [That’s] why I like the first two. I really felt like I was in the world.”

For many fans, his omission of critical plot points from the book weakened the film’s internal logic. An user pointed to the film’s failure to portray the essential backstory of Voldemort’s mother, which laid the groundwork for Tom Riddle’s villain’s slow regression to his current soulless incarnation. Other Redditors have condemned the main set’s portrayals, particularly in regards to their budding romantic relationships. Like u/Myble said, “Not to mention the very awkward and forced romantic interactions between Harry and Ginny, making their whole relationship super weird without the context of the book.”

For some users, the adaptation of “Harry Potter and the Half-Blood Prince” extinguished the magic of the whole series. U/erin_bex revealed, “I’ve seen every movie in theaters…and stop watching after this one. The books were iconic and they destroyed the source material.”

Ultimately, while the “Harry Potter” franchise arguably remains a historic feat in literature and film, its adaptations will likely inspire heated debate for generations to come.

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‘Taangh/Longing’, ‘Shoebox’ wins top prizes at New York Indian Film Fest | Entertainment News https://litary.net/taangh-longing-shoebox-wins-top-prizes-at-new-york-indian-film-fest-entertainment-news/ Mon, 16 May 2022 07:21:29 +0000 https://litary.net/taangh-longing-shoebox-wins-top-prizes-at-new-york-indian-film-fest-entertainment-news/

New York: A documentary about hockey Olympian Grahnandan Singh, a film that explores a young woman’s complex relationship with her father, and a documentary about young girls who stand up against child marriage and learn football have won top honors at this year’s New York Indian Film Festival (NYIFF) which celebrated India’s cinematic traditions as the country enters its 75th year of independence.

Around 60 films, feature films and documentaries screened at the 2022 New York Indian Film Festival, considered the oldest and most prestigious festival in North America which ran from May 7-14 and featured the cinema of India and the Indian diaspora.

Presented virtually for the third consecutive year, the festival, presented by the Indo-American Arts Council (IAAC), presented 60 screenings including 18 feature films, six documentaries and 36 short films.

The festival closed on Saturday with the documentary “The Beatles and India: An Enduring Love Affair”, directed by Ajoy Bose and Peter Compton.

A picture of ‘Shoebox’. Picture: YouTube


NYIFF 2022 winners included ‘Shoebox’, voted Best Picture while Aditya Vikram Sengupta won Best Director for ‘Once Upon a Time in Calcutta’, Best Screenplay award went to ‘Powai’, Jitendra Joshi won Best Actor for ‘Godavari’, and Sreelekha Mitra won Best Actress for ‘Once Upon a Time in Calcutta’.

The Best Child Actor award went to Reyaan Shah and Hirnaya Zinzuwadia for “Gandhi & Co.” Documentary ‘Taangh/Longing’ directed by Bani Singh, telling the story of his father, Olympian Grahanandan Singh who won two gold medals in hockey in 1948 and 1952, won Best Documentary (Feature Film) ), while the award for Best Short Film (Documentary) went to “Kicking Balls”.

An image from ‘Taangh/Longing’. Picture: YouTube


The documentary, which is set in three small villages in Rajasthan, details the work of a non-profit organization that trains teenage girls, almost all child brides, in football.

The award for Best Short (Story) went to Succulent’. India’s Consul General in New York, Randhir Jaiswal presented the awards to the winners. IAAC President Dr. Nirmal Mattoo said at the closing night that the festival showcased India’s contribution to the world of art and literature. As India celebrates 75 years of independence this year, Mattoo said that India as a country has long literary and artistic traditions and there is an abundance of creative and scientific literature.

A poster of Once Upon a Time in Calcutta. Photo: IMDB


IAAC Executive Director Suman Gollamudi said this year that the festival showcases the diversity of Indian culture and showcases the country’s famous cinematic traditions.

NYIFF festival director Aseem Chhabra expressed hope that after being featured in virtual editions for the past three years due to the pandemic, the festival will return in an in-person avatar next year.

Our goal is to really underscore NYIFF’s commitment to diversity and cultural representation in filmmaking, he said. He said this year the festival featured films in 13 languages ​​spoken in India: Assamese, Bengali, English, Gujarati, Hindi, Kannada, Malayalam, Marathi, Punjabi, Sanskrit, Tamil, Telugu and Urdu.

Chhabra added that NYIFF’s mission is to provide filmmakers, actors and industry professionals with a platform to showcase their work, create a culture where filmmakers can exchange ideas with diverse audiences, journalists and aficionados.

The wrap-up party also featured Chhabra’s moderated conversation with Bose and producer Reynold D’Silva about their documentary about the iconic Beatles band’s time in India.

Through rare archival footage, photographs, eyewitness accounts and expert commentary as well as filming across India, the documentary brings to life the fascinating journey of George Harrison, John Lennon, Paul McCartney and Ringo Starr since their lives of high-octane celebrity in the West. in a remote Himalayan ashram in search of spiritual bliss that inspires an unprecedented burst of creative songwriting.

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Peter Greenaway reflects on his career while finishing a new movie https://litary.net/peter-greenaway-reflects-on-his-career-while-finishing-a-new-movie/ Sat, 14 May 2022 16:30:00 +0000 https://litary.net/peter-greenaway-reflects-on-his-career-while-finishing-a-new-movie/

Right off the bat, Peter Greenaway wants to make it clear that he never really took himself seriously as a filmmaker – although, like so many of the paradoxes that make up Greenaway’s identity, it’s unwise to take such a assertion too seriously.

“It’s a terrible confession to talk to you,” he says via Skype from a small house on the Atlantic coast where he goes on weekends (the rest of his time he spends in Amsterdam, mostly). “There is always this feeling of being removed from the activity, of stepping back and trying to watch it without a sarcastic or derivative attitude, but certainly with considerable irony.”

Such brashness is very evident in Greenaway’s filmography, which spans 16 feature films, ranging from irreverent to the Terry Gilliam of “The Falls” (1980), a three-hour catalog of eccentric survivors of a an imaginary, brain-dumping cataclysm is “The Tulse Luper Suitcases” (2003-04), a delicate trio of feature films centered on his cinematic alter ego, the elusive Tulse Luper.

Greenaway has what is arguably the most playful resume of any great living director, brimming with visual puns, math puzzles, and imaginative language. He’s obsessed with lists, maps, and all sorts of taxonomic tools that humans have devised to make sense of a chaotic world (that’s his structuralist impulse in action), even though he so clearly delights in subverting these same systems (for which he has been called a “poststructuralist” by those who share his affinity for classification).

Now 80, the director of art house films such as the 1989 cannibalistic satire ‘The Cook, the Thief, His Wife and Her Lover’ and the NC-listed 1996 ‘The Pillow Book’ -17, did not soften at all. He’s still working — Greenaway is wrapping ‘Walking to Paris,’ an in-progress portrait of Romanian sculptor Constantin Brâncuși’s trip to Europe’s art capital — and still battling in his own provocative way against the idea that cinema is a medium for telling stories; he is convinced that he is capable of much more.

“We created our cinema on the notion of illustrated text, but I’ve always opposed it. Every time I started writing a screenplay, I thought, ‘What am I doing here? I want to make animated images! says Greenaway.

“I never planned to be a director,” he explains. “I wanted to be a painter from an early age. There’s nothing in my family that suggests a support system of any kind, and yet, through a series of happy accidents, I found myself in art school in the very early twenties. 60. At the time, all the art schools had film clubs, the New Wave was in full swing and it was an exciting time for Italian cinema, so those were my references.

“A bout de souffle” by Jean-Luc Godard electrified him. “Last Year in Marienbad” by Alain Resnais upset him and quickly became his favorite film.

“He has crazy ideas where people don’t have names, and it’s all about memory, which is remarkably unreliable,” he says. “I’m not a big fan of abstract art. I still believe in notions of form and figuration, but it was the film that traveled closest to the wind, to the idea of ​​being an abstract film. He removed anecdotal information and replaced it with other types of anecdotal information. Seeing it, Greenaway realized, “I wanted to do abstract film art in a sense.”

After being rejected by the film program at the Royal College of Art, Greenaway found work at the Central Office of Information, or COI, the UK’s “marketing and publicity” (i.e. propaganda) department. post-war, as an editor. “I was constantly making films about Concorde and about hovercraft and all those things that the British people congratulated themselves on, but all the time I was deeply distressed and amused by this use of propaganda,” Greenaway says. “And it goes on, doesn’t it?” We are now in this era of extraordinary fake news.

A decade and a half of assembling such material gave Greenaway an incredibly sophisticated sense of how to put together images, which he applied to a series of experimental shorts, a handful of which had received critical acclaim.

“I had done a lot of films, which were linked to all kinds of fashions in cinema. I was fascinated by land art, planting ball bearings as if they were seeds. I wanted to use the language of cinema to talk about it,” he says, “but I want the widest possible audience. Then along came this extraordinary phenomenon called Channel Four, which suddenly decided because it was run by scholars and scholars that we needed something a little smarter, a little more provocative.

Thus, Greenaway found new support for the follies he had been doing for years. If “The Falls” could be considered the absurd culmination of the abridged work he had done before, 1982’s “The Draftsman’s Contract” was a critical and popular breakthrough. Like “Last Year at Marienbad,” the film is something of a puzzle, though Greenaway insists the mystery isn’t as complicated as it seems. (Indeed, it explains everything pretty well in the director’s commentary, for those looking for ideas.)

“I’ve always been very aware that we had a very literary cinema. I mean, cinema is supposed to be about pictures, but you can’t go to a producer with 17 prints and shots on serial painting and convince him. Traditionally, what a producer needs is a script, and a script is script, and script is literature,” says Greenaway.

And so Greenaway pushed back, testing the limits of the medium, delivering just enough intrigue to keep audiences interested, while bending the forms as much as he could get away with.

“I had another kind of serious problem: if I wasn’t very interested in storytelling, how the hell was I going to hang it all together? We all use storytelling. Events happen during the day and we tell our wives, our dogs, our doctors, our dentists what happened to us. But the storytelling is extremely fleeting and anecdotal,” he says.

Consequently, Greenaway turned to other systems to structure his films. “’The cook, the thief, his wife and her lover’ is an illustrated menu. A menu consists of appetizers all the way to coffee, so I used that as a structure,” he explains. “In ‘Drowning by Numbers’, the title tells you everything: it’s a film about numbers. It’s a very conscious way of saying: “It’s not reality, it’s a movie”. A film is a construction. Let’s play with artificiality.

Here it is again: the notion of play, so central to the aesthetics of Greenaway. To say he’s not serious about his art would be absurd, and yet the best way to appreciate his work is to relax and embrace the renegade spirit of experimentation. See how he uses color in “The Cook…”, savor the choreography and compositions in “Prospero’s Books”, laugh at the bawdy excess of “Eisenstein in Guanajuato” (a tribute release to the master of Russian silence).

“The really exciting days of cinema were probably the last 10 years of silent film, when they demanded that pictures tell the story,” says Greenaway. Since the introduction of sound, cinema has been chained to literature, he says. Films are obsessed with realism – just as painting once was, until the invention of the camera set art free. “Photography has created the greatest century of painting we have ever known,” he says.

But the films are blocked, he believes. “Cinema hasn’t even reached its Cubist period yet,” Greenaway told an interviewer.

He did his part to shock, only to be shocked back by the institutional embrace.

“I think it was David Hockney who said, ‘If you hit 80 in England and you can still boil an egg, watch out, they’ll pin a medal on you,'” he laughs, repeating a joke made nearly a decade earlier. , after receiving the BAFTA Lifetime Achievement Award. “So I thought, ‘Fuck it. I’m really going to make films that I really want to make.

Getting older has not tamed it at all. “The date of death for most white men in Europe is 81 and a half, so I have a year and a half left,” he says. “Hopefully I can stretch that a bit. I have loads and loads of movie scripts ready to go. Like “Joseph,” a scandalously sacrilegious investigation into the fatherhood of Jesus that Greenaway describes as a “one-shot cataclysmic collapse of Christianity.”

Or “a dialogue between Stalin and Dracula”, which reveals his secret to the Russian leader. “As a vampire, he doesn’t suck blood. It does something much more powerful. It feeds on human semen from the source. So there is another sensational film that I want to make, ”says Greenaway, well aware that we will never see the light of day.

“At the end of this summer, I’m supposed to do a film with Morgan Freeman about death, which tries to find a reasonable notion of suicide. I believe that death is not necessary.

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’60s Abortion Drama Rings True to the Current Tune https://litary.net/60s-abortion-drama-rings-true-to-the-current-tune/ Fri, 13 May 2022 17:30:00 +0000 https://litary.net/60s-abortion-drama-rings-true-to-the-current-tune/

This review of “Happening” was first published on May 5 ahead of the film’s opening in New York and Los Angeles.

Rarely has there been a narrative film that feels more current than ‘Happening’, a French drama about the trials of a young woman attempting an abortion – in 1963.

Audrey Diwan (“Losing It”) based her second film, which won first prize at the Venice Film Festival last year, on the autobiographical novel of the same name by Annie Ernaux. Although it’s a woman’s story, Diwan (who co-wrote the screenplay with Marcia Romano) directs it with an urgency that makes it clear: it could be anyone’s story.

Well, not just anyone, of course. But certainly anyone who finds themselves pregnant without access to a safe and legal abortion, which is the case of Anne (an excellent Anamaria Vartolomei). Until her calendar reveals the inevitable truth, Anne is no different from her best friends, Hélène (Luàna Bajrami) and Brigitte (Louise Orry-Diquéro), who spend their days studying literature in college and their nights flirting with local boys. club.

But once Anne realizes how much time has passed since her last period, her whole world twitches. The morals of the day are so constrained that she feels obliged to tell her gynecologist that she is still a virgin. She lies to her anxious, overworked mother (Sandrine Bonnaire), who runs a bar and has no time to imagine her daughter’s unthinkable worry. As for her classmates, they still have the freedom to accept and enforce what she cannot yet see: law, culture and medicine have united to deem her unworthy.

Once she no longer reflects on others in a positive way – like a patient doctor can treat, a student teacher can impress, a friend who fits in effortlessly – she becomes useless. And as the weeks pass with terrifying rapidity, she realizes that she is truly alone.

Diwan’s on-the-fly staging, taken up by Laurent Tangy’s ultra-tight cinematography and the production’s naturalistic lighting and sound, draw us into the stifling immediacy of each passing day. Diwan noted that she was inspired by the films of Luc and Jean-Pierre Dardenne, and there is a similar sense of liberal social realism here. We share Anne’s experiences, rather than watching them from a distance.

This empathetic approach also minimizes the withdrawal that could occur if “Happening” truly felt like it was set 60 years ago. It actually feels very modern, with no visible emphasis on nostalgic details. That said, the pop music, brief moments of dreamy beauty, and earnest debates over Camus versus Sartre—not to mention multiple scenes of young women jostling for physical and emotional space in crowded communal showers—remind us that we visit, indeed mid 20and France of the century.

“It’s not fair,” Anne insists, as one moment after another is decided by people who don’t care or even consider her needs. She is right, of course; nothing about his situation is fair. Judge, avoid, humiliate; anger, fear, pain – this is the language of Diwan’s story. To call it a tough watch would be an understatement; it often feels, in its sheer honesty, like a horror movie.

But Anne, by force of will, also makes room for the vocabulary of force and self-determination. Like Eliza Hittman’s more expansive “Never Rarely Sometimes Always” or Cristian Mungiu’s “4 Months, 3 Weeks, and 2 Days” – which also follow a vulnerable young woman as she runs through a mapless maze – “Happening” serves to destabilize, expose and condemn. But also, and above all, to honor and implore.

“Happening” opens in select U.S. theaters on Friday after debuting in New York and Los Angeles on May 5.

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Publication on Iran-Japan film relations presented at Tehran Intl. Book Fair https://litary.net/publication-on-iran-japan-film-relations-presented-at-tehran-intl-book-fair/ Fri, 13 May 2022 14:22:59 +0000 https://litary.net/publication-on-iran-japan-film-relations-presented-at-tehran-intl-book-fair/

TEHRAN — A book illustrating cinematic ties between Iran and Japan was showcased at a special meeting at the 33rd Tehran International Book Fair (TIBF) on Thursday.

Published by the Alhoda International Cultural, Artistic and Editorial Institute in Tehran, the book “Iran-Japan Cinema” was written by Qodratollah Zakeri, an Iranian expert in Japanese studies.

The book, which was written based on a commission from the Iranian Cultural Center in Tokyo, was previously unveiled by the center in July 2021.

In one chapter, the book delves into common subjects portrayed by Japanese and Iranian filmmakers.

It also gives an in-depth look at the history of films made in the two countries, discussing joint film projects made by Iranian and Japanese filmmakers.

Japanese knowledge of Iranian cinema and Iranians’ knowledge of Japanese are also among the topics discussed in the book.

Alhoda Director Hojjatoleslam Mohammad Asadi-Movahed and TIBF President Yaser Ahmadvand, who is also Deputy Culture Minister for Cultural Affairs, attended the meeting.

“Cinema is one of the areas we have something to say about in the world,” Asadi-Movahed said at the meeting.

He referred to screenings of Iranian films at international events around the world and noted that Iranian cinema has been praised by all nations, whether Christian or Muslim.

For his part, Ahmadvand said, “Despite the long geographical distance between Iran and Japan, we have a lot in common with Japan and consider the country a cultural neighbor.”

“Iranian elites, both in the field of literature and cinema, are interested in Japanese cultural products, and the Japanese are in sympathy with Iranian cultural sensibilities,” he added.

Ahmadvand noted that the Ministry of Culture and Islamic Guidance is particularly keen to do everything to help improve cultural relations between Iran and Japan.

Pictured: Alhoda Hojjatoleslam director Mohammad Asadi-Movahed (2nd L) and TIBF President Yaser Ahmadvand (2nd R) unveil a poster for the book ‘Iran-Japan Cinema’ during the 33rd Tehran International Book Fair May 12, 2022. (IRNA/ Meisam Alaqemandan)

MMS/YAW

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Luana Bisesti • Director, Trento Film Festival https://litary.net/luana-bisesti-director-trento-film-festival/ Fri, 13 May 2022 09:55:16 +0000 https://litary.net/luana-bisesti-director-trento-film-festival/

– Interview with the director of the oldest international film festival dedicated to mountains, adventure and exploration, which has just completed its 70th edition

(©Luca Matassoni)

Celebrating 70 yearsand edition with a multitude of events and screenings, the Trento Film Festivalthe oldest international film festival dedicated to mountains, adventure and exploration, has seen Nicholas Molinait is American Gaucho win the Golden Gentian for Best Film. The Jury Prize was awarded to Lassu by Bartolomeo Pampaloniwhile the event was kicked off with a screening of the restored film Italy K2 by Marcello Baldifrom 1954. The complete list of winners can be found here. We spoke to the festival director, Luana Bisesti.

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Cineeuropa: What exactly has changed here over the past few years? Are there more movies or more special events?
Luana Bisesti:
Everything has changed, somehow. We are so open to young people, students and families. Our audience is much younger now. In the last ten or twelve years, we have started to be more interdisciplinary. Also, when you say “mountain”, people have this triangular shape in mind, but our interest is broader than that. We speak more and more often of “highlands” because it explains a little better what we are trying to do. We care about anything above sea level. Or even below, in fact – after all, you can also find mountains under the sea. [laughs].

Was it crucial that this festival – which is after all very special – open up a little more?
When I took office, this change was already underway. From a niche festival aimed at a very specific group of people, particularly those interested in mountaineering and exploring, there has been this shift towards a wider audience. If you stay too closed, you’ll lose something along the way – including viewers.

For a very long time, this event was the only chance for these people to see their idols, all these incredible personalities. There was no TV, no internet, so they came here to see Ricardo Cassino, Walter Bonatti, all those greats of the 1950s, 1960s and 1970s, bringing recordings of their travels. Today, thanks to technology, we can almost climb alongside them if we want to.

It’s hard to explain the appeal of the mountains to someone who doesn’t like them. It seems like everything of these Good-well-known mountaineers, such as Reinhold Messner, also come here for the community.
There is this saying, Nemo Propheta in Patria [no man is a prophet in his own land]. This event is probably better known abroad than in Italy, and it has never been difficult to involve these personalities. Especially because there is already this brand and this tradition. I understand that for so-called “normal people”, it is sometimes difficult to understand their motivations. Why would anyone risk their own life and the lives of others? Especially if it’s a woman with a family, for example. But these climbers keep telling us, “Family is important, but we feel complete when we reach this peak or reach another goal. I have listened to these testimonies for so many years, and even today, I do not understand what drives them. It is this fire that they have in them. Either you have it or you don’t.

Do you share this affection?
I really prefer the sea! It’s funny because I was driving with my son today, and he asked me: “Mom, but was this festival already so well known when you started working on it? Did you always know you were going to do this? So now it looks like you’re asking me the exact same thing.

I used to work in Milan, at university, then I came back for personal reasons – I wanted to take care of my grandmother. One day I ran into someone I knew and heard that the “Festival de la Montagne”, as it was called at the time, was looking for someone. I have always liked the organizational side of events; I have that ability, I guess. But you also develop a passion for what you do.

The films you present here are quite varied – you have mountaineering documentaries but also art house films.
As I said before, this festival aims to satisfy a varied audience. There will be family and monumental documentaries, but also niche titles, which are particular and not really easy to watch – the kind that our head of programming, Sergio Fant, appreciate the most. The idea, also that of the program, is never to give answers. This is perhaps also the mission of the festival. It has to educate, and there are many levels to that, just like with literature. Some only read novels, which is perfectly fine, while others prefer philosophy. You try to cater to all these different curiosities, also because in a small town like ours it is one of the rare occasions when you can see some of these titles.

Many years ago, at the festival, you would see all these people dressed as if they were about to go on a hike. I saw them this year too, and I guess that’s how you show you’re part of this group. But our festival no longer belongs to a single tribe.

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In a new film, Nicolas Cage faces a new enemy: himself – News https://litary.net/in-a-new-film-nicolas-cage-faces-a-new-enemy-himself-news/ Thu, 12 May 2022 06:42:15 +0000 https://litary.net/in-a-new-film-nicolas-cage-faces-a-new-enemy-himself-news/

‘The Unbearable Weight of Massive Talent’ is now playing in cinemas across the UAE



By AP

Published: Thu 12 May 2022, 10:42

Metropolis. Bruce Lee. Woody Woodpecker. A pet cobra. All of these things have been inspirations behind Nicolas Cage’s performances — sometimes private homages that the actor has used as blueprints to build some of his most over-the-top, erratic, and touching characters.

A conversation with Cage, likewise, draws from a wide range of sources. In a recent and usually high-profile interview before the release of The unbearable weight of massive talent, Cage mentioned Picasso, Elia Kazan, Timothée Chalamet and Francis Bacon. A book of interviews with Bacon, The brutality of the factsfor example, helped Cage define his attraction to intense, even grotesque performance—”which is not obviously beautiful”, he says—rather than naturalism.

“And I kind of approached my perception of the public, as well as the way I think about my film work, as an actor with this concept in mind – not being afraid to be ugly in your behavior or even in her looks,” Cage explains. “To create a kind of taste that must be discovered.”

With more than 100 films, Cage, 58, Oscar winner (Leaving Las Vegas), an action star (Air conditioning) and the source of countless internet memes for his most theatrical moments in movies like Front/Off — has long been one of cinema’s most peculiar tastes. Yet by being “an amateur surrealist,” as he refers to himself, Cage has become – even after resorting to a series of VOD releases to pay off back taxes and get out of debt – like one of Hollywood’s most beloved stars. Like Unbearable weight director Tom Gormican says, “the sight of his face makes people happy.”

A satire of himself

But even for the Mercurial Cage, The unbearable weight of massive talent, which hits cinemas in the United Arab Emirates today, represents something different. In it, Cage plays himself. Or rather, he plays a funny mirror version of himself who sometimes interacts with a younger version of himself. The film is a great homage to Cage in which the actor manages to both satirize perceptions of himself and sincerely act on those characters.

“The direct line that’s always been there for me: no matter what I’ve designed, and it was a design, whether it’s ridiculous – and it often is ridiculous – or whether it’s sublime, it has to be informed with genuine emotional content,” Cage says. .

“No matter how wide or what some like to call it over the top, it had an authentic feeling.”

But what else does Cage stand for? It is the actor who, channeling Nosferatu in vampire kiss, gave one of the craziest recitals of the alphabet ever heard. He likes to reply, “Well, show me where the peak is and I’ll tell you if I’ve passed any.”

“I grew up in a house where my mom did things that, if you put them in a movie, you’d say was over the top,” says Cage, whose mother, Joy Coppola, was a dancer and choreographer. His father, August Coppola, brother of François, was a professor of literature. “But what is the top? When you want to design something and you think of different styles – naturalism, impressionism, surrealism, abstract – then you start looking at it in a different way. It won’t be for everyone and it won’t necessarily sell tickets. But it is okay.”

“Cinema is a business and it was not without risk that I took this path, but it was important to me,” he adds. “I stuck with it and, of course, I got thrown a lot of Rotten Tomatoes in my face. But I knew it was coming, so it wasn’t something I didn’t expect.

But what’s unusual with Cage is that many of these experiences HAVE sold out tickets. Many of them. Cage’s films gross nearly $5 billion at the global box office. Still, it’s been a while since he’s been the focus of a major studio film.

return concept

The unbearable weight of Massive Talent, which Lionsgate premiered on South by Southwest to warm reviews, allows it to play with the notion of returning. In the film, he is desperate to score better roles than the birthday party he was offered $1 million at. The film was an opportunity to wrestle – usually comically, sometimes physically – with its own over-the-top mythology.

“He would come up to me and say, (lowered his voice) ‘Tom, there’s a guy who wears rings and leather jackets and he lives in Las Vegas and he would never say that line,'” Gormican recalled. “And I would say, ‘Oh, you mean you.’ He would say, ‘Yes.’ And I would say, ‘Well, it’s not you. It’s a character based on you. And he would say, ‘But he’s named after me.’ I was like, ‘Come on, man, just say the line.'”

“We would have discussions about who understood Nick Cage the best,” adds Gormican with a laugh.

Gormican was initially repeatedly turned down by Cage before a heartfelt letter finally convinced the actor to do the film. The problem was that Cage, even in his most outlandish form, never put quotes around his performance. He tends to invest himself fully in even the most unbalanced characters. (Werner Herzog Bad Lieutenant: Port of New Orleans comes to mind.)

Cage initially feared the Gormican film was a self-deprecating parody, and while it has those elements, Cage steers it in more unpredictable directions.

“Without mentioning names, there were actors who came out of the gate who I thought were really sincere and deeply emotional and honest at first and then got too high on their own supply,” Cage says.

“They started winking at the audience and, in my opinion, he lost the emotional connection. It’s a slippery slope when you make the decision that you want to be emotional and raw.

The actor reaches gonzo heights in the film. After one scene, Gormican was honored to hear Cage say, “That was Full Cage. You have the complete cage. Another scene shows the two Cages making out, after which the younger one exclaims, “Nick Cage is smooching good!”

A kind of legend

Cage’s exotic tastes—he had to return a dinosaur skull he bought and stole from Mongolia—contributed to his legend.

But he insists it’s normal in his life so he can be extreme in his work – and that part of his self-promotion, like an infamously crazy appearance on Woganwas itself an act.

Last year, Cage married Riko Shibata, his fifth wife, and they are expecting a child. (Cage also has two adult sons; a friction point in Unbearable weight was that he wouldn’t be shown as an absent father – a fiction that Cage wouldn’t allow.)

After an exceptionally introspective press tour for the film, Cage is eager to return to the wilderness outside of Las Vegas, where he lives. He could use a break from “Nick Cage”.

But The unbearable weight of massive talent concludes a chapter for the actor. He’s finally come out of the red after making around 30 video-on-demand movies over the past decade to pay off the IRS and its creditors. He makes no apologies for these movies. They made him a better actor, he says.

” I trained. I managed to keep my access to my imagination close at hand. It was a much better way for me to get out of this financial crisis than doing something like a Super Bowl ad — and believe me, they offered me,” Cage says. “That was also a point for me, that I’m not a salesman, I’m an actor.” PA

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Books as “surplus goods”: a new angle for censorship https://litary.net/books-as-surplus-goods-a-new-angle-for-censorship/ Wed, 11 May 2022 15:53:30 +0000 https://litary.net/books-as-surplus-goods-a-new-angle-for-censorship/ Novelist Dave Eggers Calls Rapid City Book Destruction ‘Unacceptable Horror’

Arguments over censorship have become all too common at school board meetings. In South Dakota, the Rapid City School District tried to avoid this public debate with a new tactic: listing targeted books at the end of a list of surplus properties.

After public outcry, the school board delayed voting on the books, originally hidden in the consent agenda as “surplus assets” recommended for destruction.

weeding“Damaged or outdated books are not unusual for libraries or schools. But the five targeted books were recent purchases, and a panel of teachers requested them as part of new 12and-Course of Study.

Books include Dave Eggers The circleAllison Bechdel’s Graphic Memoirs fun houseBernardine Evaristo’s Booker Prize winner Girl, woman, other: a novelby Stephen Chbosky The perks of Being a Wallflower and Imbolo Mbue How Beautiful We Were: A Novel. In all, the district was aiming for more than 350 copies.

Novelist Eggers, founder of McSweeney’s and co-founder of the 826 National Network of Writing and Tutoring Centers for Young People, offered to purchase copies of one of the books for seniors in the Rapid City area by the through a bookseller in the region or by request by e-mail.

“The massive destruction of books by school boards is an unconscionable horror,” Eggers said in a statement posted at McSweeney’s. “And young freethinkers in South Dakota should not be subjected to it. For every copy destroyed by the school board, let’s add a new one to local circulation.

He announced his intention to go to Mitzi’s books on May 16 for a banned books event, a day before the next Rapid City board meeting.

While Eggers’ efforts helped shine the spotlight on the incident, the district’s tactics remain alarmingly in the shadows. The books – originally selected by a panel of teachers from across the district for a new English 12 class for high school students in Rapid City – appear near the end of a list that includes broken computers, extra fire extinguishers and cartridges of ink for the recycling pile. Next to each title, his fate suggested: “To Be Destroyed”.

The district’s public information officer told the Rapid City Journal that administrators recommended the district remove the books because of questionable content. “Building administrators and the Director of Teaching, Learning and Innovation have agreed to this decision, based on the content of the books,” Caitlin Pierson mentioned.

The decision to destroy the books is “disturbing and dismissive,” said Jonathan Friedman, director of free speech and education at PEN America.

“While the books are banned across the country, few have tried to ‘destroy’ them in such a callous or covert way,” he said on May 6. statement. “All sorts of questions linger about why the administrators banned this set of newly adopted books and how they literally ended up on the chopping block.

“But the prospect of destruction also reflects the uncompromising extremism that now pervades many public school districts. Books, words and works of literature are considered so objectionable that they must be expunged.

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Von Loves Her Modernist: Film Reveals Adelaide’s Vibrant Cultural Underbelly of the 1940s https://litary.net/von-loves-her-modernist-film-reveals-adelaides-vibrant-cultural-underbelly-of-the-1940s/ Tue, 10 May 2022 23:52:09 +0000 https://litary.net/von-loves-her-modernist-film-reveals-adelaides-vibrant-cultural-underbelly-of-the-1940s/

“I think it’s one of Adelaide’s great stories,” filmmaker and writer Rob George says of the story that inspired his documentary. Von loves his modernist.

“But we have the problem in Adelaide that we’re a small town and the story tends to be told about the big cities.”

Max Harris – co-founder of the literary journal angry penguins and the South African branch of the Contemporary Art Society, and later manager and owner of Mary Martin Bookshop – have not been erased from history. However, George believes key parts of his story have been overlooked, in part because they were overshadowed by the infamous Ern Malley case.

He also thinks South Australia should tell its own story.

“In the film, I can’t leave Ern Malley out…but I was more interested, especially when I was interviewing Von [Max’s wife]about where Max got his ideas from,” George says of the poet who has been dubbed Adelaide’s ‘enfant terrible’.

“How did someone living in this isolated and very conservative city in the late 1930s learn about modernism? How did he know? Now you just have to go online and find out whatever you want, but in 1938-39 we had a lot of censorship on the material; [there was] a real limit to the amount of things that happened.

George was studying Australian literature in 1969 when he first learned of Harris and the Ern Malley affair, which broke out in the early 1940s after angry penguins published a series of Modernist-style poems submitted under Ern’s name which later turned out to be a hoax. In the 1990s he tried to pitch a play at State Theater Company SA based on Harris’ relationship with Melbourne-based arts patrons John and Sunday Reed, and in 2007 he interviewed Von Harris at her home in Norwood as part of a documentary proposal to the ABC.

Neither was successful, but George couldn’t let go of his idea for a documentary. After completing his low-budget sci-fi feature film The Battle of Jericho in 2019, he decided to relaunch the project which is now called Von loves his modernist and will screen as part of the SA History Festival on May 14 at Mercury Cinema and May 28 at Marino Community Hall.

“In a way, it’s a love story at the heart of it all,” George says of the film’s title, which includes footage from his 2007 interview with Von.

Filmmaker Rob George interviewing Von in 2007.

Von Hutton and Max Harris met in high school: she was at St Peter’s Girls and he was at St Peter’s Boys, with Von telling George that she first saw the poet during a combined school service at St. -Rock.

“Then she saw him again at a football game and she said he was very different. [to other boys she knew] and that was what drew her to him. They were about 15 or 16 at the time…he was known as a poet then and she describes him as someone who did things differently…and he was obviously very energetic, intellectual, incredibly intelligent, incredibly cultured.

Young Von and Max. Photo courtesy of the Harris family

Von’s parents didn’t initially approve of Max, but the pair reconnected in Melbourne when he was with the Reeds at their Heide estate, a gathering place for artists like Sidney Nolan. Von, a dancer and actor, moved to Melbourne to join the Borovansky Ballet. The couple married upon their return to Adelaide.

“Von talks a lot about their life in Heide and their membership in the modernist art movement in Melbourne at that time,” George says of their interview, which gave insight into the world Max grew up in and the people with which he is associated.

Von loves his modernist – which features music by Guy Cundell – also includes interviews with Von and Max’s daughter, journalist and critic Samela Harris; family friend Peter Goers; and literary historians Philip Butterss and Nicholas Jose.

Butterss told George that young Max would have been influenced by literary figures from Adelaide in the 1930s and 1940s such as Jim Stewartnovelist and professor of English at the University of Adelaide.

“The other thing that I had no idea was that there was a bookshop in Adelaide called Preece’s Bookshop that was operating well into the 70s,” George says.

“It was at Beehive Corner on King William Street and they imported a lot of modernist literature and contemporary literature and were very happy for students and interested people to stand there and read them in the back of the bookshop… they also put out a literary magazine that they used to publish and Max participated in it.

“There was this quite interesting, you could almost call it a womb, of the cultural activity in conservative old Adelaide that was going on at that time.”

These were conservative times, however, and after the Ern Malley case, Max Harris faced an obscenity trial over what authorities considered to be obscene lines in some of the poems. Despite the saga, he remains a promoter of modernism and rises as a bookseller and publisher.

George’s documentary includes some of the trial transcripts and sees Max’s grandson, Ryder Grindle, channel Max with readings of his poems and excerpts from his experimental novel, The vegetative eye.

Ryder Grindle reads excerpts from the writings of his grandfather Max in Von loves his modernist.

Helping to paint the picture of Adelaide at the start of the Second World War are excerpts from the diary of Carys Harding Brownwho was 17 in 1940 and had a relationship with Donald Beviss “Sam” Kerr, Max’s co-editor of angry penguins. His writings have been published in Carys: Diary of a Young Girl, Adelaide 1940-42, parts of which are read by his daughter Ann Barson in Von loves his modernist.

“The diary creates a beautiful picture of the extraordinary cultural activity that was going on in Adelaide at that time…in Carys’ diary she appears to be going to see a film, a play, a ballet, an orchestra concert practically every night of the week,” says Georges.

This Saturday’s screening of Von loves his modernist at the Mercury Cinema will be followed by a Q&A with Rob George and other documentary cast members, including Samela Harris, Nicholas Jose and Philip Butterss.

The filmmaker acknowledges that the 65-minute documentary, made on a small budget, will appeal to a niche audience, but he hopes it will find a life beyond the History Festival: “I think there will be other screenings. In what context, who knows?

Mercury Cinema and Marino Community Hall Von Loves Her Modernist Screening Details Available here.

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