One reason a day to go into stationery
GEC (managing stationery) speaks of the Cartofumetteria Leda.
One reason a day to go into stationery
GEC (managing stationery) speaks of the Cartofumetteria Leda.
Directed by Niki Caro
Poland 1939. The brutal Nazi invasion brings death and devastation throughout Europe and the city of Warsaw is repeatedly bombed. Antonina Żabińska and husband, doctor Żabinski, directing the city zoo. When the country is invaded by the Nazis, Antonina and Jan are forced to take orders from the new zoologist imposed by Reich, Lutz Heck. Soon they will join the resistance and organize, risking their lives and the lives of their own children, saving many people confined in the Warsaw Ghetto. The zoo itself will serve as a hiding, concealing cages used to protect humans. The film is based on the novel by Diane Ackerman, essayist, American writer and poet. His articles have appeared in New York Times, The New Yorker, National Geographic, and he has won numerous awards, including l 'Orion Book Award precisely for this novel. Source of the book are the diaries of the true Antonina Żabińska.
A feminine film, between reason and feeling
It certainly can not say that The lady of the Warsaw Zoo is not a movie done right. It is, undoubtedly, and talks about something very important: He tells us in detail the Nazi invasion in Poland and how the people reacted, increasingly, to defend itself and its cultural openness. In this true story, linked to the zoo, until the exit of the novel Ackerman no one knew next to nothing and then it is certainly a film that is worth seeing, although unfortunately, compared to what could have been at issue and invoice level, really guilty of originality. Il film funziona, He has pace, and it is certainly good shot, enriched by the refined photography, although a bit ' "glam", of Andrij Parekh, but it is too classical and flat ... is the usual American film from the cut that we expect to see. The actors were all convincing and Chastain It is perfect for the part, as well as very good. However, the final result is weak and sometimes even excessively rhetorical, without accents. Very convincing Shira Haas, with its elegant and interesting face, in Urzula cloths. Perhaps the director, he had the makings of a big production, He declined to be on the classic, building something good without too unbalanced, but the subject was so powerful, per se, which from my point of view deserve much more, in terms of study and deepening of a narrative formula most sought. Ad ogni modo, la Expensive It continues its important attempt to bring the spotlight stories of real community: thing, given its undeniable professionalism, You can certainly do with more innovative and bold visions. Dubbing is unfortunately ugly, as often happens, and much penalizes the interpretation of Jessica Chastain.
The protagonist, nominated twice for an Oscar, It is engaged in the role of a woman who was his wife, mother, worker and that for many, During the Second World War, it became a heroine. Niki Caro (Whale Rider, North Country – Josey History), He directs the film written by Angela Workman and adapted from the book by Diane Ackerman, published in Italy by Sperling & copper from next 31 October and in turn taken from diaries Antonina Żabińska. An elaborate handover of all female, therefore, for this film developed slowly over 10 age, that branches in the large historical context of the Polish Resistance against the Nazi oppression. At the director he was interested in particular to develop the story of the way <<emerge, in the middle of a war, the size of the fight to preserve the daily life and marriage>>. As a woman, creator of life and sensitive to it in all its forms, Antonina applied to humans his innate understanding of animal psychology, trying to relieve their moods, for example through music. <<This story celebrates life in all its forms>> , says director, and the character played by Chastain It gives value to the spirit of all living beings resisting, as a woman, in fierce fear and destruction era. Antonina was fighting to stay attached to that which is good in people: to preserve the spirit of its guests and what makes us human. The underlying question, that emerges continuously from the story (but unfortunately not always from the film), is: <<Who are the real beasts?!>>. Life in the zoo highlights the central idea which led to the defeat of Hitler: you can not have control over Nature. The world goes on, Nature survives. Animal life at the bottom resists any dictatorship.
The state of Israel has honored the Żabiński mentioning them "Righteous among the Nations" for having given refuge in the beloved zoo to over 300 people, keeping them safe and making them survive the Holocaust. The screenplay was completed with the collaboration of the children of Zabinski, still alive: Lynx and Teresa, protagonists of the story.
This is the story of a Holocaust, because in fact, each experienced the same individual is different. The War Jan is that of a man who turns from intellectual minded, a soldier. The one of Antonina It is more visceral, made of compassion and defense of life, which culminates with childbirth, during the war. The Battle of Heck it was rather that of man against Nature: the zoologist had the animals to heart, but he was also ready to take on their genetic experiments, in an attempt to create mythological beasts; a controversial figure his, Nazi supporter of the idea of an Aryan race that included humans, but also animals, through selective breeding. Heck was very obsessed by 'Hour, mighty bison that once populated the forests of Germany.
As already mentioned, in short, expect a very interesting story, but rather a form canonical.
In output in Italian cinemas 16 November 2017
Adapted from the manga A Silent Voice, of Yoshitoki Ōima, published in Italy by Stat Comics, this brave and poetic feature film directed by Naoko Yamada, one of the few Japanese directors, She tells with delicacy and respect the difficulties of Shoko Nishimiya, a young girl suffering from deafness and bullied by a peer, in turn the victim of other companions. In mid-teens, involved in all existential problems that it entails, the young protagonists are wondering, at various levels, whether it is possible, in companies, change and get rid of old stereotypes or labels that people attribute you, chasing the details of sociological and psychological analysis by no means trivial or obvious.
He is having established itself as one of the highest grossing Japanese film of last season, the anime was successfully presented at Future Film Festival 2017.
Something hard to tell
To speak truly of disability and the experience that it inevitably entails, often we must be passed, because it is hard to imagine ... You have to have them known, those sweet girls dreamy-eyed projecting like all toward a future of love and life experiences, or those guys when anger grows, because they would like to play with others, and feel part of the group. Tutti, in some way, We cross this stage, during our teenage years, but in the case of so many unfortunate people is the lack of perspective, to make the idea of unbearable future and gloomy. There is a strong feeling of not being, unavoidably, "Like the others" and of being the road blocked for a multitude of things, if not independence. And it's hard to tell this distinct feeling of lack of freedom, the despair that comes, realize that desperate, Also not wanting us to think, You can not just say and do a multitude of things that others will always give for granted.
With the distinctive style of the best-known authors such as Makoto Shinkai and Hayao Miyazaki, La forma della voce He has been able to tell the exciting story of two teenagers who will have to terms with their convergences, their problems and self-knowledge. Shoko Nishimiya is a sweet deaf girl who is forced to communicate using a notebook. Shoya Ishida is a restless and always active child in competitions with friends. The lives of the two intersect in the most simple and obvious way of the world: Shoya is one of the bullies who make fun of the handicap of Shoko, torturing unbearable as only kids can do. But fate has it that, once he grew and became teenager, Shoya suffer firsthand the torture of bullying. Realizing at last what it means, the boy will try to make up for his mistakes spending time with Shoko and learning to know. central theme of the film is therefore the complexity of the relationship that can arise among teenagers, often conflictual, but also of great understanding. The anime deals with sweetness and genuineness maturation of a boy through growth and the consequent beauty that can come from friendship with the woman who was the object of his scorn. The novel has sold more than 700.000 copies in Japan, and the film is important and pleasant: the script is very refined and so egregious also describes the most intimate psychological nuances and indecipherable. The image and the shots are pleasing, fluid is colored, with original and interesting views. Very beautiful photography, with an intense and poetic study of light and temperature-color in expressive-dramatic function. The soundtrack is appropriate and not intrusive. It creates empathy and sense of suspense. All the characters are essential and carefully constructed. The only drawback: Perhaps the usual redundant effect of a typically Japanese narrative register, always a little 'verging on melodrama and dramatic for emphasizing, but compared to many other previous films, He has nothing too unbalanced.
A surprising film for touch, attention and writing. Sociological, not particularly original, but important. From make-see for children and young, to reflect on bullying and abuse and especially, about what it means to be disabled.
The film will be in Italian cinemas only 24 and 25 October:
Directed by Robin Campillo
In the Paris of the early nineties, Nathan decides to join the young activists to Act Up, Association ready to do anything to break the general silence on the AIDS epidemic that is claiming countless victims. Thanks to spectacular protest actions, Act Up gaining increasing visibility, while Nathan begins a relationship with Sean, one of the most radical movement of militants.
Act Up-Paris was born on 26 June 1989 on the occasion of the then upcoming gay pride parade, during which 15 activists staged the first "in the", remain lying on the street without a word. On their shirts were printed the equation: Silence = Death. A pink triangle, brand imposed on homosexuals deported to concentration camps during the Second World War, but upside down, He symbolized the will to oppose epidemic. The Act Up origins are linked to the anger toward the medical establishment, political and religious, whose liability and whose prejudices were the basis of the disastrous epidemic management. The main objective was to show everyone the disease, ceasing to use fuzzy pictures, anonymous testimonies and representations incorporeal.
So far the members of Act Up-Paris AIDS war fought on all fronts, developing strategies to gain knowledge areas classically preserve of doctors alone. Society in general was mobilized and educated, information were organized. Civil disobedience and demonstrations conducted skirted the law were necessary to make their voices heard, ma Act Up He has always refused physical violence. One of the peculiarities of the group is precisely to occupy public spaces not only with words, through images or signs, but using their bodies, which become real weapons of "mass representation". The symbolic impact of these demonstrations, as well as the use of fake blood or sperm, or even the ashes of members killed by the disease (a real political act), It was the response of Act Up daily aggression of establishment power.
The deep silence of Violence
120 beats per minute, both lyrical film, how lovely picture from the point of view, It is a profound declaration of love to life. A powerful and disarming love story, both torque, collectively. A story that makes us understand what the gay community is no different from the ethereal and that brings to mind what political activism, to live in and for the community, all linked by a single inevitable fate, all roommates in the same house. Sessantottino re-emerges the image of "political funeral", there against the face of the fact that we are born, we live and die in an inevitable community.
Greeted as a masterpiece at the last Cannes festival, where it won the Grand Prix, the Fipresci award it is to Queer Palm, 120 beats per minute It is set to become one of the biggest film events of the season, and is a major motion picture, essential, necessary. A story that deeply moved: powerful, sweet and violent, enhanced by an incredible acting first, and the first order and sharp-photography, Contemporary, but also very poetic, of Jeanne Lapoirie. You can not forget the image of the bloody Seine and the dust of the ashes that is almost snow, transporting continuously between the two dimensions of the human being: the highest, philosophical and moral, and animal, goliardica, more natural. 120 beats per minute He is a profoundly lyrical film ... infused with poetry in every syllable, in each frame, sweet and convincing expression of each actor. The acting and directing are intense, calamitanti and passionate. The pulsating soundtrack and featuring the Arnaud Rebotini It takes us back to those years and creates temporal fractures in which fit perfectly moods, hopes and anxieties.
Philippe Mangeot, former member Act Up, He collaborated on the script, so polyphonic and intense discussions and thematic reporting, in an extremely likely, to overshadow, almost always, the line between reality and fiction. The actors, in particular Nahuel Pérez Biscayart in the part of Sean, Arnaud Valois in the part of Nathan and Adele Haelen in that of Sophie, They have played so well and their words are so believable, that is the doubt that they are part of the association, dragging the viewer continuously towards the dimension of the documentary, but in very high shape and precisely lyric.
120 beats per minute It reminds us that life is violent, but a marvelous violence. What it is worth living, fought, painful and felt, until it all becomes dust. it reminds us (and it does it with importance, and elegance) that life is all we have.
<<AIDS is a real war that has caused 42 million deaths>>, he has declared Robin Campillo, director in the running for an Oscar: <<I want you to see it all, because the political class has done nothing>>.
Una regia assolutamente cinematografica, all’Opera
Almeno due parole sul Tamerlano of Davide Livermore vanno spese. Mercoledì 4 ottobre abbiamo assistito alla settima ed ultima rappresentazione di questa famosissima opera, inclusa nella 428° stagione del Teatro alla Scala di Milano. Ed è stata un’esperienza davvero unica: uno spettacolo bellissimo e curato nel dettaglio, in maniera maniacale da ogni punto di vista, così com’è sempre stato, almeno fino a qualche anno fa, per il famosissimo teatro che la scorsa stagione dava segni di stanchezza e di difficoltà, soprattutto dal punto di vista scenotecnico.
Questo Tamerlano, opera in tre atti tratta dal libretto di Nicola Francesco Haym and Agostino Piovene, sulla musica barocca e penetrante di Georg Friedrich Händel, della durata di quasi cinque ore, aveva una regia fresca e giovane, sorprendente e cinematografica. Tralasciando solo per un attimo l’orchestra diretta egregiamente da Diego Fasolis, che ha lavorato con i “barocchisti” of Rsi-Radiotelevisione Svizzera, lo spettacolo stupisce per la sua grandiosità ed originalità. Assolutamente eccezionale Lucia Cirillo, che in un’unica giornata ha imparato la parte cantata di Marianne Crebassa, nei panni di Irene, sostituita nella messa in scena dall’assistente alla regia, che ha dato vita ad un interessante “doppiaggio sul palco”, che nulla ha sottratto al normale svolgimento dello spettacolo.
Scenografie mastodontiche, curate, fastose, e per nulla banali, ricostruivano un ambiente da Russia primi del Novecento che contrastava in maniera funzionale con la vicenda ambientata invece nel 1400, accompagnate da costumi tra il Charleston e la Prima Guerra Mondiale. I vagoni di un treno quasi sempre in movimento occupavano orizzontalmente tutto il palcoscenico, sul quale ogni elemento si è mosso con ritmo e fluidità, favorito da una regia dinamica, arricchita dai sorprendenti video di Videomakers D-Wok, che ci trascinavano dagli interni agli esterni, dalle passioni metaforizzate visivamente dei personaggi, agli ambienti ricostruiti nella maniera più verosimile possibile.
Una regia fresca e dinamica, che ha saputo giocare molto e bene soprattutto sul Rewind spazio-temporale (che nell’opera io non ho mai visto usare), gestito in maniera egregia facendo spostare avanti e indietro le comparse, spesso coinvolte in movimenti sensuali, contemporanei e significativi, e che a tratti ci sono sembrate il doppio, il triplo di quel che erano, tanto i loro movimenti e le loro posizioni erano accurate e studiate nel minimo dettaglio, al fine di arricchire di significato la messa in scena.
Qualcosa di assolutamente cinematografico in questo spettacolo dall’esecuzione musicale e canora classica e perfetta. Un’interazione funzionante tra storico e contemporaneo, che si sono reciprocamente arricchiti. Memorabili, se non incantevoli, alcune scene, come il lento allontanarsi di tutto il palco (e dunque metaforicamente della vita) da Asteria, la scena dello stupro di gruppo, i divertenti inserti della partenza periodica del treno, resi attraverso la corsa all’indietro delle comparse. Ma anche la possibilità, anch’essa cinematografica, di vedere contemporaneamente interno ed esterno del treno, con grande fluidità. O l’espressione visiva della rabbia di Andronico, che fa crollare la facciata del palazzo con pugni di rabbia. Per non dimenticare il finale, sotto la neve, mentre il gelo penetra nelle ossa dei personaggi, all’interno del grande salone, esausti e intimamente prosciugati dai cambiamenti della Storia.
Uno spettacolo davvero incredibile, così come dovrebbero essere tutti quelli della Scala. Costumi eccezionali (of Marianna Fracasso), scenografie grandiose e fini (dello stesso Livermore e di Giò Forma) e le incantevoli, particolarissime voci di Franco Fagioli and Bejun Mehta, quasi ipnotici nelle loro fioriture vocali e a tratti simili ad usignoli. Una regia che ha saputo decisamente valorizzare una trama passionale ed avvincente, ma che di per sé avrebbe un finale scontato e quasi assurdo.
Il crollo dell’Impero Ottomano e della Russia Zarista, dunque la morte dell’aristocrazia in funzione del predominio del popolo, con tutti i suoi pro e contro, rivivono il quest’ Opera del 1724 che si aggiunge alle molte nate dal Seicento in poi attorno alla figura del famoso conquistatore centro-asiatico Tīmūr Barlas (in chagatai تیمور, temur, “ferro”, anche Timur-e lang, in lingua farsi تیمور لنگ, ossia Timur “lo zoppo”), conosciuto in Occidente come Tamerlano (o Tamerlan, o anche Tamburlaine), che fu condottiero e generale turco-mongolo, fondatore dell’Impero Timuride, protagonista in Asia Centrale e nella Persia orientale tra il 1370 e il 1407, predecessore della dinastia Mogol in India.
Uno spettacolo semplicemente bellissimo.