#Adriana Asti

[chronophotographic-gun]

Caligula (1979)

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[mtonino]

Le Fantôme de la liberté (1974) Luis Buñuel

[istitutofemminile]

Conviene far bene l'amore 1975

[nicoooooooon]

Duet for Cannibals (1969), featuring Adriana Asti, Lars Ekborg, Gösta Ekman and Agneta Ekmanner

Written and directed by Susan Sontag Cinematography by Lars Swanberg

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Accattone (1961) Pier Paolo Pasolini

May 27th 2023

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[randomrichards]

BEFORE THE REVOLUTION:

Young posh progressive

Has a crisis of belief

Seeking connection

[siyusun]

Adriana Asti (Gina) em "Prima della Rivoluzione", 1964.

“Chi non ha vissuto gli anni prima della rivoluzione non può capire che cosa sia la dolcezza del vivere”. Calma aí, ó Talleyrand...

[sagmirmal]

Due film fluviali

Quasi per espridelescalié rimando i necess. saluti e giocomi il bonus titolo per due film, lasciando ai Cahiers du cinéma / Castori auf Tumblr, ossia @jacobyouarelost , palabras mas precise e serie. Sono due film speciali su adolescenti famiglie e questo mondaccio pazzo.

Il primo è 怪物 Mostro / L'innocenza di Kore'eda Hirokazu (cognome + nome). Uno dei più bei firm sui ragazzini e i maestri e i genitori e la scuola, LA SCUOLA, e l'amore «da li tempi de Truffaut» (la cit. ci tiene a essere non zerocalcarea - pur con tutto ir rispetto - bensì holliwoodpartiana). Costruito come il bellissimo Nel bosco di Akutagawa Ryūnosuke, che fu poi Rashomon, e (meglio di) Anatomia di una caduta, fatta la tara a Sandra Hüller, che Gott (sempre gelobt sei) la preservi sempre e per sempre. Kore'eda ci insegna il disastro di tutti e i loro effetti sui picc. Le chiuse tracimano, i fiumi scorrono e poi esondano. È anche film di rinascita e resurrezione: e su questo, per favore, si suggerisca ad Alice Rohrwacher di tornare indré nel tempo, und rifare il catechistico La chimera dopo essere andata a guardarlo. Musica, ultime musiche di Sakamoto Ryuichi. Al tuo arrivo ti accolgano i martiri, e ti conducano etc.

Il secondo è La vita accanto, MTGiordana incontra l'alter-ego più anziano MBellocchio. Circolano frasette sceme su questo film; mi sento un po' autorizzato a blaterarci anche me, perché ebbi conosciuto: anni molti li conservatori; le aule delle elementari con Tania, che anche lei come etc.; troppi giorni, prima der Pisano, tri(-meno1)veneti (lascerò alle etnografie di @trilo-bite disamine più fini, e all'Istituto Nazionale di G e V); alcune signore iscambianti l'esistenza per gl'ingranaggi; molti occhiali con la montatura nera squadrata und spessa. Chi dice che MTGiordana non fa film così squadrati non ricorda Quando sei nato non puoi più nasconderti.

Fantasmi, cadute, i disegni I DISEGNI della gente bimba, anche quando bimba non è più, e i libri, TUTTI QUEI LIBRI, come diceva Adriana Asti da qualche parte, che Dio preservi sempre. Gli sguardi di quella particolare società dell'aidòs che è il Veneto e plebeo e borghese, e di nuovo i nefasti quod Deus avortat effetti sui piccoli, soprattutto le piccole più o meno piccole, e l'acqua che Vincenza bagna, sempre lì disponibile per la soluzione. Che belli i volti (le riprese dei volti), e la musica, e la Bergamasco che torna a suonare. Film-Méliès, con inquadrature e dialoghi di grande tenerezza e altre specchio della grande inquietudine. Una tragedia greca nella città del teatro olimpico e dei militari americani. Terra terra e insieme alta come quelle greche, davvero.

Francesca Bellè: voleva fare la rockstar, è sempre più brava. Michela Cescon, che era in Quando sei nato, non la accarezza nessun tempo che scorre, recita come davanti al Grande Manito.

[byneddiedingo]

Franco Citti in Accattone (Pier Paolo Pasolini, 1961) Cast: Franco Citti, Franca Pasut, Silvana Corsini, Paola Guidi, Adriana Asti. Screenplay: Pier Paolo Pasolini, Sergio Citti. Cinematography: Tonino Delli Colli. Production design: Flavio Mogherini.  Film editing: Nino Baragli.  There are times in Pier Paolo Pasolini's first feature when he seems to be trying out things that he will accomplish with greater finesse in his later films. For example, there are several walk-and-talk tracking shots in which Accattone and another person walk down a street toward a receding camera. This technique was used with greater force and wit in Pasolini's next film, Mamma Roma (1962), in which Anna Magnani strides down a nighttime street, talking about her life, as various people emerge from the darkness to deliver comments on what she is telling us. We've seen this sort of thing done many times since the development of the Steadicam -- it has become a kind of cliché in films and TV shows written by Aaron Sorkin -- but even though the shadow of the retreating camera rig occasionally creeps into the frame in Accattone, Pasolini and cinematographer Tonino Delli Colli execute it with considerable skill. Skill is not always in evidence in Accattone, which has its rough, raw edges. Pasolini had worked with Federico Fellini on Nights of Cabiria (1957) and it's instructive to compare the two films: Fellini's has greater technical finish, but it's also less harsh and more sentimental, which may be why Fellini, who originally planned to produce Pasolini's film, withdrew his support. But the rawness of Accattone is entirely appropriate for a film that evokes the spontaneity and actuality of early Italian Neo-Realism with its non-professional actors and ungroomed settings. And it has at its center a charismatic performance by Franco Citti, an untrained actor who went on to a long career on-screen that included an appearance as Calo, one of Michael Corleone's Sicilian bodyguards in The Godfather (Frances Ford Coppola, 1972), as well as numerous roles for Pasolini.  "Accattone" is a nickname that means "beggar" or "ne'er-do-well" or "layabout" -- the character's given name is Vittorio Cataldi -- and is entirely appropriate for a character who begins as a pimp and, after hitting the skids and even trying work (at which he shudders), winds up as a thief -- a dead thief. Citti's voice was dubbed in the film, but most of the work is done by his extraordinarily expressive face and by a physical commitment to the role. There is, for example, a terrific fight scene between Accattone and the men of his ex-wife's family, which ends with Accattone and his opponent locked together in a struggle in the dirt, neither willing to relinquish hold. Pasolini also emphasizes the dissonance between a world that produces an Accattone and the religious background from which it springs by using excerpts from Bach's St. Matthew Passion on the soundtrack.

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MOVIE/ PARMA CELEBRA BERNARDO BERTOLUCCI A SESSANTA ANNI DALL’USCITA DEL FILM PRIMA DELLA RIVOLUZIONE CON ADRIANA ASTI

[paoloferrario]

LA MEGLIO GIOVENTU’, di Marco Tullio Giordana, Con: Luigi Lo Cascio, Adriana Asti, Sonia Bergamasco, Maya Sansa, Fabrizio Gifuni , Jasmine Trinca, Alessio Boni, Camilla Filippi, Valentina Carnelutti, Andrea Tidona, Lidia Vitale, Greta Cavuoti, Riccardo Scamarcio, Claudio Gioé, Danilo Maria Valli, Stefano Abbati, Aldo Innocenti, 2003

LA MEGLIO GIOVENTU’, di Marco Tullio Giordana, Con: Luigi Lo Cascio, Adriana Asti, Sonia Bergamasco, Maya Sansa, Fabrizio Gifuni , Jasmine Trinca, Alessio Boni, Camilla Filippi, Valentina Carnelutti, Andrea Tidona, Lidia Vitale, Greta Cavuoti, Riccardo Scamarcio, Claudio Gioé, Danilo Maria Valli, Stefano Abbati, Aldo Innocenti, 2003

[magicinaframe-part2]

A Movie Dedicated To The People Of Italy

The movie that I'm thinking about on this Sunday evening is one that was written about extensively by many different writers -- first, throughout Europe, starting when it debuted at the Cannes International Film Festival in May of 1964 -- and then, here, in the U.S., when it played in theaters, starting on July 16, 1965.

Interest in this movie has continued through the decades to the present, because of the main thread of the plot. The movie is called in Italian, PRIMA DELLA RIVOLUZIONE, which translates into English as BEFORE THE REVOLUTION...

Fabrizio (Francisco Barilli), a young adult male who appears to be in his late teens, lives in the city of Parma, Italy, with his father, mother, and little brother. He is tormented by the injustices of Italian society and by corruption that too many Italians accept.

Fabrizio is a member of the Communist Party and reveres an older man named Cesare (Morando Morandini) who has taught him history, literature, and political theory, for a number of years.

Fabrizio is upset about the fact that the Party does not seem to be making any progress in bringing about a Revolution.

At the beginning of PRIMA DELLA RIVOLUZIONE, Fabrizio is urging a friend of his, another young man named Agostino (Allen Midgette), to join the Party and to introduce himself to Cesare, so that he -- Agostino -- can also learn from the older teacher who believes in the need for Revolution.

Shortly after Fabrizio and Agostino argue over what Fabrizio says are mistakes in judgment that Agostino is making, Fabrizio learns that his friend has drowned in an accident. The news affects Fabrizio deeply; he tells himself that Agostino took his life.

Fabrizio is also conflicted about two women with whom he wants to have a relationship. There's Clelia who is from Parma and there's also his Aunt, Gina (Adriana Asti), who has been living in Milan -- until recently, when she arrived in Parma.

The bulk of the plot of this 105-minute movie details Fabrizio's attempts at figuring out what his priorities are supposed to be. For me to disclose how the movie ends would be a mistake, because writer-director Bernard Bertolucci is serious about the personality details of his main characters; i.e., the way that they relate to each other, the way that they think. These details are important to Mr. Bertolucci; he wants the audience to discover these details on their own, for themselves, as they happen on-screen.

And when you -- you who are reading my words -- get to the end of the movie, I'm reasonably certain that you'll figure out that the movie is criticizing the Communist Party. The Party has no plan of action and is not communicating effectively with Fabrizio's generation.

Some sixty years later, some sixty years after PRIMA DELLA RIVOLUZIONE debuted, Italian society has changed greatly. It has become more complicated. The world, in general, has also changed, as well as Italy's relationships with other countries throughout the world; relationships between countries have become more complicated. Would an Italian man or woman in his or her 70's have any coherent advice about what the Italian government should stand for, what the government's priorities should be? Would a young man or woman in his or her 20's agree with that advice?

If any of this sounds interesting, PRIMA DELLA RIVOLUZIONE is available on DVD with English subtitles.

-- Drew Simels

[grindhousefunhouse]

9 MILLION VIEWS CAN'T BE WRONG | The Sex Machine (1975) | Movie Review

This is my movie review for the 1975 Italian sci-fi sex comedy "The Sex Machine".

a.k.a. "Love And Energy" a.k.a "Conviene Far Bene L'amore".

Directed by Pasquale Festa Campanile and starring Gigi Proietti, Agostina Belli, Eleonora Giorgi, Monica Strebel, Adriana Asti and Christian De Sica.

Watch the original version: https://www.youtube.com/watch?v=_H6YwijqyTE https://www.avsubtitles.com/download_sub.php?subid=10636&revid=20220726141900 (Subtitles)

Download the dubbed english version: https://archive.org/details/the-sex-machine-1975

PLEASE LIKE! SHARE! & SUBSCRIBE!

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[reginadeinisseni]

Amarcord Trailer (Federico Fellini, 1973)

TONINO GUERRA

Amarcord, univerbazione della frase in lingua romagnola "a m'arcord", cioè "io mi ricordo"

lo zio paterno Teo, ricoverato in manicomio e il nonno che scoppia di salute e che tra un detto moraleggiante e l'altro non si fa mancare delle libertà con la domestica.

Federico Fellini

ProduttoreFranco

Giuseppe Rotunno

MontaggioRuggero Mastroianni

Effetti specialiAdriano Pischiutta

Musiche  Nino Rota

ScenografiaDanilo Donati

TruccoRino Carbone

Interpreti e personaggi    Pupella Maggio: Miranda Biondi

Armando Brancia: Aurelio Biondi

Magali Noël: Ninola detta "Gradisca"

Ciccio Ingrassia: Teo

Nando Orfei: Lallo

Luigi Rossi: Avvocato

Bruno Zanin: Titta Biondi

Gianfilippo Carcano: Don Balosa

Josiane Tanzilli: Volpina

Maria Antonietta Beluzzi: tabaccaia

Giuseppe Ianigro: nonno

Marcello Di Falco: principe

Alvaro Vitali: Naso

Ferruccio Brembilla: capo fascista

Doppiatori originaliAve Ninchi: Miranda Biondi

Corrado Gaipa: Aurelio Biondi

Adriana Asti: Ninola detta "Gradisca"

Enzo Robutti: Teo

Paolo Carlini: Lallo

Piero Tiberi: Titta Biondi

Solvejg D'Assunta: tabaccaia

Fausto Tommei: nonno

Logo ufficiale del film

Amarcord è un film del 1973 diretto da Federico Fellini.

È uno dei film più noti del regista, al punto che la parola Amarcord, univerbazione della frase in lingua romagnola "a m'arcord", cioè "io mi ricordo", è entrata nella cultura popolare diventando un neologismo della lingua italiana, con il significato di rievocazione in chiave nostalgica[1][2].

Indice

l'altro non si fa mancare delle libe