#Andrei Cohn

[gregor-samsung]

Acasă la tata [Back Home] (Andrei Cohn - 2015)

[ionutdragu]

Săptămâna Mare | Holy Week,în regia lui Andrei Cohn, va avea premiera mondială la Berlinale

Cel mai nou film semnat de Andrei Cohn, Săptămâna Mare | Holy Week, va avea premiera mondială în secțiunea Forum a Festivalului Internațional de Film de la Berlin. Aflat la cea de-a 74-a ediție, festivalul se va desfășura anul acesta între 15-25 februarie. Săptămâna Mare este produs de Mandragora și distribuit în România de Iadasarecasa. Lansarea în cinematografele din țară fiind programată…

[artfilmfan]

Back Home (Andrei Cohn, 2015)

cinematography: Andrei Butica

[stainedglassgardens]

Favourite films watched in 2020

In no particular order:

Katalin Varga (Peter Strickland, 2009) The Gleaners and I (Les Glaneurs et la glaneuse, Agnès Varda, 2000) Land of Silence and Darkness (Land des Schweigens und der Dunkelheit, Werner Herzog, 1971) Post Tenebras Lux (Carlos Reygadas, 2012) The Return (Возвращение, Andrey Zvyaginstev, 2003) The Grand Bizarre (Jodie Mack, 2018) Transnistra (Anna Eborn, 2019) Ghost Town Anthology (Répertoire des villes disparues, Denis Côté, 2019) The Petrified Forest (Archie Mayo, 1936) Viy (Вий, Georgiy Kropachyov & Konstantin Ershov, 1967)

Complete list of all 323 films watched in 2020 under the cut!

January

Angus, Thongs and Perfect Snogging (Gurinder Chadha, 2008) Blade (Steven Norrington, 1998) Who Among Us! (Abhishek Prasad and Rebecca Kahn, 2019) Brotherhood (Meryam Joobeur, 2018) Disctrict 9 (Neill Blomkamp, 2009) Hair Love (Matthew A. Cherry and Karen Rupert Toliver, 2019) Kitbull (Rosana Sullivan, 2019) Sister (妹妹, Siqi Song, 2019) Nuts! (Penny Lane, 2016) The Judge (Erika Cohn, 2017) The Ghosts of Sugar Land (Bassam Tariq, 2019) Amazonia (Dominic Hicks, 2018) Dearborn Ash (Hena Ashraf, 2018) Pineal (Jenny Rinta-Kanto, 2019) Headcleaner (Nick Scott, 2019) Rattlesnake (Zak Hilditch, 2019) The Neon Demon (Nicolas Winding Refn, 2016) Skin (Audrey Rosenberg, 2018) The Banishment (Изгнание, Andrey Zvyagintsev, 2007) F is for Friendship (Shaya Mulcahy, 2016) Paradise Hills (Alice Waddington, 2019) Road House (Rowdy Herrington, 1989) Hustlers (Lorene Scafaria, 2019) I Believe in Unicorns (Leah Meyerhoff, 2014) Ghost Train (Lee Cronin, 2014) Troop Zero (Bert & Bertie, 2019) For the Love of God (Pour l'Amour de Dieu, Micheline Lanctôt, 2011)

February

Sitting Next to Zoe (Ivana Lalović, 2013) Dark Places (Gilles Paquet-Brenner, 2015) Nocturnal Animals (Tom Ford, 2016) The Limey (Steven Soderbergh, 1999) Side Effects (Steven Soderbergh, 2013) Good Sam (Kate Melville, 2019) Anima (Paul Thomas Anderson, 2019) What Did Jack Do? (David Lynch, 2017) Fleur de tonnerre (Stéphanie Pillonca, 2016) Parasite (Bong Joon-ho, 2019) The Field Guide to Evil (Peter Strickland, Veronika Franz & Severin Fiala, Katrin Gebbe, Yannis Veslemes, Ashim Ahluwalia, Agnieszka Smoczynska, Can Evrenol, Calvin Reeder, 2018) Devil (John Eric Dowdle, 2010) 37 Seconds (Hikari, 2019) The Falling (Carol Morley, 2014) Grave of the Fireflies (火垂るの墓, Hotaru no Haka, Isao Takahata, 1988) Elena (Елена, Andrey Zvyagintsev, 2011) The Lighthouse (Robert Eggers, 2019) Baskin (Can Evrenol, 2015) In Fabric (Peter Strickland, 2018) Leviathan (Левиафан, Andrey Zvyagintsev, 2014) Suffragette (Sarah Gavron, 2015)

March

The East (Zal Batmanglij, 2013) Solaris (Солярис, Andrei Tarkovsky, 1972) Mamma Mia! (Phyllida Lloyd, 2008) There Will Be Blood (Paul Thomas Anderson, 2007) Io (Jonathan Helpert, 2019) The Death and Life of Marsha P. Johnson (David France, 2017) A Bump Along the Way (Shelly Love, 2019) Color Out of Space (Richard Stanley, 2019) Divines (Houda Benyamina, 2016) Vanishing Waves (Kristina Buožytė, 2012) Mirror (Зеркало, Andrei Tarkovsky, 1975) Zama (Lucrecia Martel, 2017) Swallow (Carlo Mirabella-Davis, 2019) Joy (Sudabeh Mortezai, 2018) Good Time (Josh and Benny Safdie, 2017) Quarantine (John Eric Dowdle, 2008) The Reflecting Skin (Philip Ridley, 1990) Three Billboards Outside Ebbing, Missouri (Martin McDonagh, 2017) Leto (Лето,  Kirill Serebrennikov, 2018) The 39 Steps (Alfred Hitchcock, 1935)

April

Queen of Earth (Alex Ross Perry, 2015) Black Christmas (Sophia Takal, 2019) Dogs of Chernobyl (Léa Camilleri & Hugo Chesnel, 2020) Firecrackers (Jasmin Mozaffari, 2018) Les Misérables (Ladj Ly, 2019) The Evil Dead (Sam Raimi, 1981) The Daughters of Fire (Las hijas del fuego, Albertina Carri, 2018) The Fallen Idol (Carol Reed, 1948) The Wailing (곡성, Gokseong, Na Hong-jin, 2016) Inherent Vice (Paul Thomas Anderson, 2014) Sorrowful Shadow (Guy Maddin, 2004) Mistery Lonely (Harmony Korine, 2007) The Grand Bizarre (Jodie Mack, 2018) Zombieland: Double Tap (Ruben Fleischer, 2019) Waves '98 (Ely Dagher, 2015) Uncut Gems (Josh and Benny Safdie, 2019) The Last Séance (Laura Kulik, 2018) Too Late to Die Young (Tarde para morir joven, Dominga Sotomayor Castillo, 2018) Room (Lenny Abrahamson, 2015) Queen & Slim (Melina Matsoukas, 2019) The Holy Mountain (La montaña sagrada, Alejandro Jodorowsky, 1973) The Chaser ( 추격자, Chugyeokja, Na Hong-jin, 2008) Made in Dagenham (Nigel Cole, 2010) The Color of Pomegranates (Նռան գույնը, Nřan guynə, Sergei Parajanov, 1969) Lost Girls (Liz Garbus, 2020) Ghost Town Anthology (Répertoire des villes disparues, Denis Côté, 2019) And Then There Were None (René Clair, 1945) Doctor Sleep (Mike Flanagan, 2019) Meshes of the Afternoon (Maya Deren and Alexander Hammid, 1943) Circus of Books (Rachel Mason, 2019) Catfish (Henry Joost and Ariel Schulman, 2010) Wildling (Fritz Böhm, 2018) Delphine (Chloé Robichaud, 2019) The Strange Love of Martha Ivers (Lewis Milestone, 1946) The Red Balloon (Le Ballon rouge, Albert Lamorisse, 1956) Nona. If They Soak Me, I’ll Burn Them (Nona. Si me mojan, yo los quemo, Camila José Donoso, 2019) The Lodge (Veronika Franz & Severin Fiala, 2019) Invisible Man (Leigh Whannell, 2020) Sans Soleil (Chris Marker, 1983)

May

A Russian Youth (Мальчик русский, Alexander Zolotukhin, 2019) Sicario (Denis Villeneuve, 2015) Fedora (Billy Wilder, 1978) LoveTrue (Alma Har'el, 2016) The Platform (Galder Gaztelu-Urrutia, 2019) Water Lilies (Naissance des pieuvres, Céline Sciamma, 2007) The Assistant (Kitty Green, 2019) The Half of It (Alice Wu, 2020) Tomboy (Céline Sciamma, 2011) The Last Man on Earth (Ubaldo Ragona and Sidney Salkow, 1964) Beanpole (Дылда, Kantemir Balagov, 2019) Mommy (Xavier Dolan, 2014) The Fall (Jonathan Glazer, 2020) Girlhood (Bande de filles, Céline Sciamma, 2014) Carnival of Souls (Herk Harvey, 1962) Marguerite & Julien (Valérie Donzelli, 2015) Portrait of a Lady on Fire (Portrait de la jeune fille en feu, Céline Sciamma, 2019) This Magnificent Cake! (Ce Magnifique Gâteau!, Emma De Swaef & Marc James Roels, 2018) Romantic Comedy (Elizabeth Sankey, 2019) Transnistra (Anna Eborn, 2019) Eraserhhead (David Lynch, 1977) The Farewell (Lulu Wang, 2019) Emma. (Autumn de Wilde, 2020) Late Night (Nisha Ganatra, 2019) Charlie's Angels (Elizabeth Banks, 2019) Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) (Cathy Yan, 2020) The Ancestors Came (Cecile Emeke, 2017) Suicide by Sunlight (Nikyatu Jusu, 2019) Anthropocene: The Human Epoch (Edward Burtynsky, Jennifer Baichwal, Nicholas de Pencier, 2018) A Perfect 14 (Giovanna Morales Vargas, 2018) Westwood: Punk, Icon, Activist (Lorna Tucker, 2018) Free Radicals (Len Lye, 1958) Aniara (Pella Kågerman and Hugo Lilja, 2018) Vivarium (Lorcan Finnegan, 2019) La Pointe-Courte (Agnès Varda, 1955) Diary of a Pregnant Woman (L'Opéra-Mouffe, Agnès Varda, 1958) Salut les Cubains (Agnès Varda, 1964) Uncle Yanco (Oncle Yanco, Agnès Varda, 1967) GUO4 (Peter Strickland, 2019) Atlantiques (Mati Diop, 2009) Sitara: Let Girls Dream (Sharmeen Obaid-Chinoy, 2019) Lions Love (Lions Love... And Lies, Agnès Varda, 1969) Živan Makes a Punk Festival (Živan pravi pank festival, Ognjen Glavonić, 2014) Plastic and Glass (Tessa Joosse, 2009) The So-Called Caryatids (Les Dites Cariatides, Agnès Varda, 1984) The Octopus (La Pieuvre, Jean Painlevé, 1928) Hyas and Stenorhynchus (Hyas et sténorinques, crustacés marins, Jean Painlevé, 1929) Sea Urchins (Les Oursins, Jean Painlevé, 1929) Bernard-L'Hermite (Bernard-l'Ermite, Jean Painlevé, 1930) The Sea Horse (L'Hippocampe ou "cheval marin", Jean Painlevé, 1934) Voyage to the Sky (Voyage dans le ciel, Jean Painlevé, 1937) Le Vampire (Jean Painlevé, 1945) Freshwater Assassins (Assassins d'eau douce, Jean Painlevé, 1947) How Some Jellyfish Are Born (Comment naissent des méduses, Jean Painlevé and Geneviève Hamon, 1960) Shrimp Stories (Histoires de crevettes, Jean Painlevé and Geneviève Hamon, 1964) The Love Life of the Octopus (Les Amours de la pieuvre, Jean Painlevé and Geneviève Hamon, 1965) Acera, or The Witches' Dance (Acera, ou le Bal des Sorcières, Jean Painlevé and Geneviève Hamon, 1972) Pigeons of the Square (Les Pigeons du square, Jean Painlevé, 1982) The Slumber Party Massacre (Amy Holden Jones, 1982) Jane B. par Agnès V. (Agnès Varda, 1988) The Cranes Are Flying (Летят журавли, Mikhail Kalatozov, 1957) Crystal Swan (Хрусталь, Darya Zhuk, 2018) Take Me Somewhere Nice (Ena Sendijarević, 2019) Microhabitat ( 소공녀, Jeon Go-woon, 2017) The Unforeseen (Laura Dunn, 2007)

June

Funny Games (Michael Haneke, 1997) Louise Bourgeois: The Spider, the Mistress and the Tangerine (Marion Cajori and Amei Wallach, 2008) Wodaabe: Herdsmen of the Sun (Werner Herzog, 1989) Bells from the Deep: Faith and Superstition in Russia (Glocken aus der Tiefe - Glaube und Aberglaube in Russland, Werner Herzog, 1993) We Are the Best! (Vi är bäst!, Lukas Moodysson, 2013) Olla (Ariane Labed, 2019) Return to Reason (Le Retour à la raison, Man Ray, 1923) Ghosts Before Breakfast (Vormittagsspuk, Hans Richter, 1928) Sissy Boy Slap Party (Guy Maddin, 2004) The Republic of Enchanters (La République des enchanteurs, Fanny Liatard and Jérémy Trouilh, 2016) Sullivan's Banks (Sullivans Banken, Heinz Emigholz, 2000) Black Panthers (Agnès Varda, 1970) Asparagus (Suzan Pitt, 1979) America (Valérie Massadian, 2013) The Fall (Tarsem Singh, 2006) The Watermelon Woman (Cheryl Dunye, 1996) Douce Menace (Ludovic Habas, Yoan Sender, Margaux Vaxelaire, Mickaël Krebs, Florent Rousseau, 2011) Curling (Denis Côté, 2010) Trouble Every Day (Claire Denis, 2001) The Return (Возвращение, Andrey Zvyaginstev, 2003) Maillart's Bridges (Maillarts Brücken, Heinz Emigholz, 2000) Two Years at Sea (Ben Rivers, 2011) The Creeping Garden (Tim Grabham and Jasper Sharp, 2014) Homo Sapiens (Nikolaus Geyrhalter, 2016) A Radiant Life (Une Vie radieuse, Meryll Hardt, 2013) Shirley (Josephine Decker, 2020) Disclosure (Sam Feder, 2020) Baghead (Mark Duplass and Jay Duplass, 2008) Lahemaa (Leslie Lagier, 2010) Closeness (Теснота, Kantemir Balagov, 2017) Touki Bouki (Djibril Diop Mambéty, 1973) Daughter (Dcera, Daria Kashcheeva, 2019) Human Nature (Sverre Fredriksen, 2019) 1 Dimension (一维, Lü Yue, 2013)

July

Post Tenebras Lux (Carlos Reygadas, 2012) Something to Remember (Något Att Minnas, Niki Lindroth Von Bahr, 2019) Gegenüber (Ewa Wikiel, 2019) The Claudia Kishi Club (Sue Ding, 2020) Villa Empain (Katharina Kastner, 2019) Fata Morgana (Werner Herzog, 1971) Some Like It Hot (Billy Wilder,1959) Breakwater (Quebramar, Cris Lyra, 2019) Y a-t-il une vierge encore vivante? (Bertrand Mandico, 2015) Virus Tropical (Santiago Caicedo, 2017) The Tribe (Племя, Miroslav Slaboshpitsky, 2014) Integration Report 1 (Madeline Anderson, 1960) Tribute to Malcolm X (Madeline Anderson, 1967)

August

The Stopover (Voir du pays, Delphine and Muriel Coulin, 2016) Our Time (Nuestro Tiempo, Carlos Reygadas, 2018) Never Rarely Sometimes Always (Eliza Hittman, 2020) Land of Silence and Darkness (Land des Schweigens und der Dunkelheit, Werner Herzog, 1971) Continental, a Film Without Guns (Continental, un film sans fusil, Stéphane Lafleur, 2007) Spaceship Earth (Matt Wolf, 2020) The Go-Go's (Alison Ellwood, 2020) First Cow (Kelly Reichardt, 2019) Light of My Life (Casey Affleck, 2019) Wadjda (Haifaa al-Mansour, 2012) Spinster (Andrea Dorfman, 2020) Love and Anarchy (Film d'amore e d'anarchia, ovvero: stamattina alle 10, in via dei Fiori, nella nota casa di tolleranza..., Lina Wertmüller, 1973) Shapito Show (Шапито шоу, Sergey Loban, 2011) Charade (Stanley Donen, 1693) Cat People (Jacques Tourneur, 1942) Radioactive (Marjane Satrapi, 2019) Tabloid (Errol Morris, 2010) The Mourning Forest ( 殯の森, Mogari No Mori, Naomi Kawase, 2007) Lilya 4-ever (Lilja 4-ever, Lukas Moodysson, 2002)

September

The Nightingale (Jennifer Kent, 2018) Babyteeth (Shannon Murphy, 2019) Let the Corpses Tan (Laissez bronzer les cadavres, Hélène Cattet & Bruno Forzani, 2017) Wings of Desire (Der Himmel über Berlin, Wim Wenders, 1987) In My Room (Mati Diop, 2020) Katalin Varga (Peter Strickland, 2009) Les 3 Boutons (Agnès Varda, 2015) Somebody (Miranda July, 2014) Öndög (Wang Quan'an, 2019) Strasbourg 1518 (Jonathan Glazer, 2020) Mermaid (Русалка, Anna Melikyan, 2007) The Lighthouse (Маяк, Maria Saakyan, 2006) Phenomena (Dario Argento, 1985) That One Day (Crystal Moselle, 2016) Brigitte (Lynne Ramsay, 2019) The Wedding Singer's Daughter (Haifaa al-Mansour, 2018) Shako Mako (Hailey Gates, 2019) Carmen (Chloë Sevigny, 2017) The Summer of Sangailė (Sangailės Vasara, Alanté Kavaïté, 2015) Hello Apartment (Dakota Fanning, 2018) Seed (Naomi Kawase, 2016) Beyond the Visible: Hilma af Klint (Halina Dyrschka, 2019) Matthias & Maxime (Xavier Dolan, 2019) The Gleaners and I (Les Glaneurs et la glaneuse, Agnès Varda, 2000)

October

American Murder (Jenny Popplewell, 2020) Hereditary (Ari Aster, 2018) Ghostland (Pascal Laugier, 2018) Triangle (Christopher Smith, 2009) The Amityville Horror (Stuart Rosenberg, 1979) The Visit (M. Night Shyamalan, 2015) The House of the Devil (Ti West, 2009) Misery (Rob Reiner, 1990) The Exorcist (William Friedkin, 1973) Coherence (James Ward Byrkit, 2013) Metamorphosis (변신, Kim Hong-sun, 2019) Errementari (Paul Urkijo Alijo, 2017) I Am a Ghost (H.P. Mendoza,2012) The Changeling (Peter Medak, 1980) Witching and Bitching (Las Brujas de Zugarramurdi, Álex de la Iglesia, 2013) Thirst (박쥐, Park Chan-wook, 2009) V/H/S ( Adam Wingard, David Bruckner, Ti West, Glenn McQuaid, Joe Swanberg, Radio Silence, 2012) The Autopsy of Jane Doe (André Øvredal, 2016) Overlord (Julius Avery, 2018) Häxan (Benjamin Christensen, 1922) Viy (Вий, Georgiy Kropachyov & Konstantin Ershov, 1967) Amulet (Romola Garai, 2020) A Bucket of Blood (Roger Corman, 1959) The Wasp Woman (Roger Corman, 1959) Mother! (Darren Aronofsky, 2017) Suspiria (Dario Argento, 1977) The Open House (Matt Angel, Suzanne Coote, 2018)

November

The Damned Don't Cry (Vincent Sherman, 1950) Notorious (Alfred Hitchcock, 1946) While the City Sleeps (Fritz Lang, 1956) The Man Who Wasn't There (Joel Coen, 2001) The Naked City (Jules Dassin, 1948) The Petrified Forest (Archie Mayo, 1936) Croupier (Mike Hodges, 1998) In a Lonely Place (Nicholas Ray, 1950) Elevator to the Gallows (Ascenseur pour l'échafaud, Louis Malle, 1958) Key Largo (John Huston, 1948) Dial M for Murder (Alfred Hitchcock, 1954) The Long Farewell (Долгие проводы, Kira Muratova, 1971) The Killers (Robert Siodmak, 1946) Gun Crazy (Joseph H. Lewis, 1950) Alphaville (Jean-Luc Godard, 1965) Laura (Otto Preminger, 1944) The Third Man (Carol Reed, 1949) Dark City (Alex Proyas, 1998) Night and the City (Jules Dassin, 1950) Ace in the Hole (Billy Wilder, 1951)

December

Nimic (Yorgos Lanthimos, 2020) Elsa la rose (Agnès Varda, 1966) Le Bonheur (Agnès Varda, 1965) Little Girl (Petite Fille, Sébastien Lifshitz, 2020) Cold Meridian (Peter Strickland, 2020) The Fiancés of the Bridge Mac Donald (Les Fiancés du Pont Mac Donald ou (Méfiez-vous des Lunettes Noires)) (Agnès Varda, 1961) Along the Coast (Du côté de la côte, Agnès Varda, 1958) Vic + Flo Saw a Bear (Vic + Flo ont vu un ours, Denis Côté, 2013) Zootopia (Byron Howard, Rich Moore, 2016) It's a Wonderful Life (Frank Capra, 1946) Paddington (Paul King, 2014) Miracle on 34th Street (George Seaton, 1947) High Life (Claire Denis, 2018) Paddington 2 (Paul King, 2017)

[rudyroth79]

Știri: ”Acasă la tata” la Cinemateca de la ICR Londra (6 iulie 2017) Cinemateca de la Institutul Cultural Român din Londra continuă, joi, 6 iulie 2017, ora 19.00…

[rithond]

Movies 2022

JANUARY / ENERO 13: Silent Night - Camille Griffin (9/10) 20: The Power of the Dog - Jane Campion (10/10) 26: Benedetta - Paul Verhoeven (10/10) 28: Rifkin's Festival - Woody Allen (8/10) TOTAL: 4

FEBRUARY / FEBRERO 9: Sublet - Eytan Fox (10/10) 13: Dýrið - Valdimar Jóhannsson (9/10) 13: The Tragedy of Macbeth - Joel Coen (10/10) 15: Spencer - Pablo Larraín (9/10) 15: Lemebel - Joanna Reposi Garibaldi (8/10) 16: Spider-Man: No Way Home - Jon Watts (6/10) 19: Antigone - Sophie Deraspe (9/10) 19: Madres paralelas - Pedro Almodóvar (10/10) TOTAL: 8

MARCH / MARZO 8: The Medium - Banjong Pisanthanakun (10/10) 30: Belfast - Kenneth Branagh (9/10) TOTAL: 2

APRIL / ABRIL 1: Verdens verste menneske - Joachim Trier (10/10) 6: Morbius - Daniel Espinosa (2/10) 10: C'mon C'mon - Mike Mills (8/10) 10: Nudo mixteco - Ángeles Cruz (8/10) 13: Licorice Pizza - Paul Thomas Anderson (7/10) 15: Mes frères et moi - Yohan Manca (10/10) 19: Dear Comrades! - Andrei Konchalovsky (9/10) 20: Competencia oficial - Gastón Duprat & Mariano Cohn (10/10) 20: Así habló el cambista - Federico Veiroj (7/10) 20: Wheel of Fortune and Fantasy - Ryusuke Hamaguchi (9/10) 21: The Northman - Robert Eggers (9/10) 26: Deux - Filippo Meneghetti (10/10) TOTAL: 12

MAY / MAYO 7: Swallow - Carlo Mirabella-Davis (9/10) 7: Olga - Elie Grappe (8/10) 28: Titane - Julia Ducournau (10/10) 29: Lola - Laurent Micheli (10/10) TOTAL: 4

JUNE / JUNIO 6: The Lost City - Adam Nee & Aaron Nee (4/10) 17: El fantasma de la sauna - Luis Navarrete (8/10) 18: The Swimmer - Adam Kalderon (9/10) 18: El perfecto David - Felipe Gomez Aparicio (8/10) 21: Everything Everywhere All at Once - Daniel Kwan & Daniel Scheinert (10/10) 25: Lightyear - Angus MacLane (9/10) 26: Les animaux anonymes - Baptiste Rouveure (10/10) 28: El hoyo en la cerca - Joaquin del Paso (8/10) 28: Flugt - Jonas Poher Rasmussen (10/10) TOTAL: 9

JULY / JULIO 2: Eraserhead - David Lynch (6/10) 2: Blue Velvet - David Lynch (9/10) 4: The Black Phone - Scott Derrickson (10/10) 13: Adam - Maryam Touzani (10/10) 13: 1982 - Oualid Mouaness (8/10) 13: La civil - Teodora Mihai (10/10) 16: Barbara - Mathieu Amalric (4/10) 16: La môme - Olivier Dahan (10/10) TOTAL: 8

AUGUST / AGOSTO 6: Rien à foutre (9/10) 17: Elvis - Baz Luhrmann (9/10) 20: Glück - Henrika Kull (8/10) 20: Crimes of the Future - David Cronenberg (8/10) 20: Au bout des doigts - Ludovic Bernard (4/10) 22: Bullet Train - David Leitch (8/10) TOTAL: 6

SEPTEMBER / SEPTIEMBRE 13: Câmp de maci - Eugen Jebeleanu (9/10) 14: The Princess - Ed Perkins (9/10) 17: El secreto del Dr. Grinberg - Ida Cuéllar (9/10) 17: Tiempos futuros - V. Checa (6/10) 20: Sanctorum - Joshua Gil (6/10) 22: Ich bin dein Mensch - Maria Schrader (10/10) 28: Nope - Jordan Peele (7/10) TOTAL: 7

OCTOBER / OCTUBRE 11: La brigade - Louis-Julien Petit (9/10) 17: Chronique d'une liaison passagère - Emmanuel Mouret(9/10) 22: Kompromat - Jérôme Salle (7/10) TOTAL: 3

NOVEMBER / NOVIEMBRE 2: C'est magnifique ! - Clovis Cornillac (9/10) 3: La croisade - Louis Garrel (9/10) 3: Jane Campion, la femme cinéma - Julie Bertuccelli (9/10) 7: Bros - Nicholas Stoller (10/10) 9: Smile - Parker Finn (8/10) 12: Haute couture - Sylvie Ohayon (10/10) 16: En corps - Cédric Klapisch (10/10) 17: Ojos que no ven - Alfonso Zárate (6/10) 22: Pahanhautoja - Hanna Bergholm (10/10) 25: Dioses de México - Helmut Dosantos (8/10) 26: Los reyes del mundo - Laura Mora (10/10) TOTAL: 11

DECEMBER / DICIEMBRE 7: Violent Night - Tommy Wirkola (8/10) 12: The Menu - Mark Mylod (8/10) 14: Finlandia - Horacio Alcalá (10/10) 20: El sueño de ayer - Emilio Maillé (8/10) 20: Guillermo del Toro's Pinocchio - Guillermo del Toro (10/10) 21: Men - Alex Garland (10/10) 26: Puss in Boots: The Last Wish - Joel Crawford (10/10) 28: Mi suegra me odia - Andrés Feddersen (2/10) 29: La caja - Lorenzo Vigas (8/10) 29: Laila Aur Satt Geet - Pushpendra Singh (6/10) 29: Bones and All - Luca Guadagnino (10/10) 30: mother! - Darren Aronofsky (10/10) 31: M3GAN - Gerard Johnstone (9/10) TOTAL: 13

TOTAL: 87

[madforestatbard]

Pictured here are the original stage models created for Luma Theater by Afsoon Pajofar, Mad Forest’s set designer. From top to bottom: The gradual lifting of the wall with the word “Da” (“Yes” in Romanian) in Act I for two different scenes; further lifting of the wall in Act II; a final, total lifting of the wall at the end of Act II, wherein actors would cross the path the wall previously blocked as bullets rained downstage.

Here are some highlights from assistant director Angela Woodack’s interview with her:

Angela Woodack (AW): What was your motivation for creating the original set design? How have you changed it to accommodate Mad Forest's movement from Luma Theater to Zoom?

Afsoon Pajoufar (AP): In the stage version of the design, we decided to create a space that projects the complex political climate of Romania with three bold gestures: before, during, and after revolution. For example, in the first act we had a massive concrete wall-an impenetrable brutal object-which it almost walled off the proscenium. The remaining narrow strip 6 feet from the edge of the stage,  forced the actors to perform in the tiny area against the concrete wall! Through the revolution scene actors penetrate the space and in final act we have a wide open fragmented chaotic space.

The design approach for Zoom was completely different than stage version; it was more like production design for film. Instead of having one stage with actors on it, we had 12 actors in 12 separate studios. We had to design an environment in order to connect them together in these little Zoom windows.  For most of the scenes I used framing techniques, to give the audience a sense of continuous action, making it seem as though this sequence is happening in one location. For example, I created a floor plan of Antonescu's apartment so I can keep track on actors positions to each other.  

AW: Did your regular artistic influences serve as inspiration for these designs? Or were you inspired to seek out new artists to build the dramaturgical background of the set?

AP: Each project for me is an opportunity to read more books, watch more movies and discover new artists. In this case, my focus was on Romanian artists and cinema, which it helped me gain a better understanding of their history, folk culture, and contemporary life. For instance, Ion Barladeanu multilayered collages are satirical and they show influence of capitalism and western pop culture in Romania. His collages were the main inspiration for shaping the third act’s mood. There were several other directors like Cristian Mungiu, Andrei Cohn, and Corneliu Porumboiu; their work has been informative for me.

AW: Has the switch to digital performance required you to learn any new skills you previously did not use in your experience as a set designer?

AP: Practically speaking, this was a fast switch, non of us was anticipating days like these even a month ago! We've tried to adapt to the situation as fast as possible and use available online platforms and technologies in a best way to make the piece happen. I used to be a production designer, and this was such a great opportunity to brush up my experience from film days. Also, since we were dealing with camera, I had to think more like a cinematographer in creating virtual contents.

AW: Have you been part of any revolutions? If so, how did they impact your approach to the world of Mad Forest?

AP: Well, I have lived more than half of my life in Iran where it is impossible to live somehow without being connected to politics, revolutions, and etc. You know…middle east daily vibe! There are several revolutions in our history, but the two most recent are 1979 (which I hadn’t been born) and the Green movement in 2009, which I was involved, but it failed! Participating in everyday protests as a student, seeing your friends got shot and were bleeding in the streets, worried parents for their youths and eventually a failure, theoretically or practically!….They all sound so similar to Mad Forest or any other revolution having these actual experiences helped me to execute the feeling of an oppressed society under a totalitarian regime and post-revolution chaotic moments.

[toldnews-blog]

New Post has been published on https://toldnews.com/technology/entertainment/critics-notebook-tribeca-film-festival-9-filmmakers-who-should-be-on-your-radar/

Critic’s Notebook: Tribeca Film Festival: 9 Filmmakers Who Should Be on Your Radar

In Danny Boyle’s “Yesterday,” the closing-night feature at this year’s Tribeca Film Festival, a musician awakes to a world in which no one else has ever heard of the Beatles. While it’s unlikely in the extreme that the festival, which opened Wednesday, will produce an artist as enduring as the Beatles, talented filmmakers can go overlooked in so large an event. Several dozen selections are both world premieres and feature debuts, which means they offer an opportunity to get in on the ground floor with a potentially major new director. Here are nine highlights from that group.

‘Burning Cane’

At 19, Phillip Youmans is surely the youngest director in this year’s American dramatic competition, and probably the most experimental. Claiming inspiration from the blues, he tells his story in an elliptical style that looks a lot like recent-vintage Terrence Malick. The film teems with lived-in details from its rural Louisiana setting (like the lengthy discussion of how to cure a dog of mange in the film’s opening) and springs to life whenever Wendell Pierce is onscreen as an alcoholic preacher. The movie is tough going, but coming from a 19-year-old, it shows a startlingly expansive understanding of what movies can be.

Your mileage may vary on the visual barrage of Facebook and emoji jokes and the use of words like “obvi” in dialogue, but the aggressive Generation Z trappings don’t make the writer-director Emily Cohn’s college raunch-com any less winning or sweet. With her studies for a looming astronomy exam on the back burner, Izzy (Isabelle Barbier), a college freshman, prepares to attend a “crush party” — all guests have been invited anonymously by a crush — and lose her virginity. Barbier is very funny, as are Deeksha Ketkar and Sadie Scott as Izzy’s cohorts.

‘Lucky Grandma’

Sasie Sealy’s dark comedy — partly financed by the festival through an inclusion initiative — revives a strain of 1980s after-hours madcap. The veteran Chinese-born actress Tsai Chin plays the grandma in question, who, on the bus back to New York from a casino, discovers she’s sitting next to a dead man traveling with a pile of cash, and snatches it. Others soon try to claim it. Going right up to the edge of stereotypes — it turns out the woman’s stubbornness serves her well in the Chinatown underworld — “Lucky Grandma” and Tsai pull off a tricky balancing act of tone. Corey Ha steals scenes as Grandma’s kindhearted (and very large) bodyguard.

‘Noah Land’

Cenk Erturk’s Turkish-language feature has the sort of delicate ambiguity we associated with the films of the Iranian director Abbas Kiarostami. The ailing Ibrahim (Haluk Bilginer, from the Palme d’Or-winning “Winter Sleep”), accompanied by his son (Ali Atay), travels to the village where he grew up, hoping to be buried under a tree he says he planted as a child. But pilgrims believe that Noah planted the tree, and another family has tended it for 50 years. Is Ibrahim mistaken about the location? Could he have other motives? Erturk uses this situation to illuminate the father-son relationship.

‘Red, White & Wasted’

“The Florida Project” captured one kind of poverty in the shadow of Disney World; “Red White & Wasted” depicts another. Embedding in a culture where the term “redneck” is used proudly, the documentary follows the family of Matthew Burns, who, with the nickname Video Pat, was a tireless chronicler of the off-road revelry at an Orlando-area mudhole — a site where locals would drive their trucks through the muck and engage in gone-wild-style partying. The directors, Andrei Bowden Schwartz and Sam B. Jones, follow Burns and his daughters through a period of transition, including an unexpected pregnancy and certain evolving attitudes. (This is a movie in which people say things like, “I’m not fully racist. I’m not racist at all, really.”) The result is an oddly poignant portrait of family and of the wisdom that comes with aging.

‘Scheme Birds’

Credited with their own cinematography and sound, the Swedish directors Ellen Fiske and Ellinor Hallin take a frank look at life in a Scottish housing project. After a pregnancy causes a rift with the grandfather who raised her, Gemma begins settling down with the boyfriend he disapproves of, Pat. The filmmakers capture changes both abrupt (one of Gemma’s friends is the victim of a sudden act of violence) and slow-simmering (as Gemma’s relationship with Pat disintegrates) and emerge with a heartening portrait of resilience in a setting where parental abandonment and prison time are treated as regular facts of life.

‘See You Yesterday’

Stefon Bristol’s movie, based on a previous short, tips its hat to other time-travel films (Michael J. Fox appears briefly as a teacher at Bronx Science). But with an ideal balance of matinee zip and social critique, it finds a fresh angle on the genre. Eden Duncan-Smith and Dante Crichlow star as two teenagers in Brooklyn who invent an apparatus that allows them to take short hops back in time, for 10-minute intervals. They soon find themselves using those powers to prevent an unjustified shooting by police. Produced by Spike Lee, the film will be available on Netflix next month.

This one’s a bit of a cheat: It’s the first feature as a solo director by the “This American Life” contributor Davy Rothbart, but he and Andrew Cohn won a News and Documentary Emmy in 2015 for another film, “Medora.” This latest movie, a chronicle of a family in Washington — the title refers to the distance from their home to the Capitol — began filming far earlier, in 1999. It covers two decades of hardship and heartbreak, and includes unshakable scenes of violence and redemption.

‘You Don’t Nomi’

Misunderstood by critics, audiences and perhaps even certain people who made it, “Showgirls” (1995) continues its journey toward full reclamation with this pleasingly wonkish, clip-heavy deconstruction from Jeffrey McHale. Even “Showgirls” partisans see the film in different lights: It’s portrayed as grist for drag shows and bad-movie nights; as the inspiration for a book of sestinas; and as a sophisticated satire whose craft and layered meanings have been revealed over time. Elizabeth Berkley’s performance in particular is singled out as an unfairly maligned tour de force.

[captawesomesauce]

@thechibrarian​ If I can make a few WWII/Resistance recommendations, I went through my collection of over 3k books on the subject and whittled it down to these! Most of them are about resistance fighters and Jews who fought back, as well as those who helped Jews escape the concentration camps and others who were passionate about fighting fascists. In the Garden of Beasts is especially poignant as it details how the Nazi’s swept into power and how William Dodd, the US Ambassador, saw what was happening but the US State Dept was indifferent.

“As that first year unfolds and the shadows deepen, the Dodds experience days full of excitement, intrigue, romance—and ultimately, horror, when a climactic spasm of violence and murder reveals Hitler’s true character and ruthless ambition. Suffused with the tense atmosphere of the period, and with unforgettable portraits of the bizarre Göring and the expectedly charming--yet wholly sinister--Goebbels, In the Garden of Beasts lends a stunning, eyewitness perspective on events as they unfold in real time, revealing an era of surprising nuance and complexity. The result is a dazzling, addictively readable work that speaks volumes about why the world did not recognize the grave threat posed by Hitler until Berlin, and Europe, were awash in blood and terror.“

Here’s a list of all of the books:

In the Garden of Beasts: Love, Terror, and an American Family in Hitler's Berlin - Erik Larson

Nazi Germany and the Jews: The Years of Persecution, 1933-1939 - Saul Friedländer

Nazi Germany and the Jews: The Years of Extermination, 1939-1945 - Saul Friedlander

The Third Reich in Power - Richard J. Evans

Forgotten Voices of the Secret War - Roderick Bailey & Sebastian Faulks

The Heroines of SOE: Britain's Secret Women in France - Beryl E. Escott

The Enemy I Knew: German Jews in the Allied Military in World War II - Steven Karras

Striking Back: A Jewish Commando's War Against the Nazis - Peter Masters & Stephen E. Ambrose

Where the Birds Never Sing: The True Story of the 92nd Signal Battalion and the Liberation of Dachau - Jack Sacco

Isaac's Army: The Jewish Resistance in Occupied Poland - Matthew Brzezinski

The Envoy: The Epic Rescue of the Last Jews of Europe in the Desperate Closing Months of World War II - Alex Kershaw

Behind Enemy Lines: The True Story of a French Jewish Spy in Nazi Germany - Marthe Cohn & Wendy Holden

Someday You Will Understand: My Father's Private World War II - Nina Wolff Feld

When Books Went to War: The Stories That Helped Us Win World War II - Molly Guptill Manning

Operation Chowhound - Stephen Dando-Collins

The Avengers - Rich Cohen

Cronkite's War - Walter Cronkite, IV

Go For Broke: The Nisei Warriors of World War II Who Conquered Germany, Japan, and American Bigotry - C. Sterner

The Jew Who Defeated Hitler - Peter Moreira

Single Handed - Daniel M. Cohen

The Boys Who Challenged Hitler - Phillip Hoose

The Auschwitz Volunteer - Captain Witold Pilecki

Nazism and War - Richard Bessel

Doctor to the Resistance - Hal Vaughan

GI Jews - Deborah Dash Moore

Fighters in the Shadows: A New History of the French Resistance - Robert Gildea

How the Jews Defeated Hitler: Exploding the Myth of Jewish Passivity in the Face of Nazism - Benjamin Ginsberg

The Pope's Last Crusade: How an American Jesuit Helped Pope Pius XI's Campaign to Stop Hitler - Peter Eisner

I Shall Live - Henry Orenstein

I Am a Star - Inge Auerbacher

Fighting on all Fronts - Donny Gluckstein

Commandos in Exile: The Story of 10 (Inter-Allied) Commando 1942-1945 - Nicholas van Der Bijl

Warsaw 1944: An Insurgent’s Journal of the Uprising - Magda Czajkowski

Escape From Auschwitz - Andrey Pogozhev

Reign of Terror: The Budapest Memoirs of Valdemar Langlet 1944–1945 - Valdemar Langlet

Courage & Defiance - Deborah Hopkinson

Young, Brave and Beautiful - Tania Szabô

Hide & Seek - Stephen Walker

Forgotten: The Untold Story of D-Day's Black Heroes, at Home and at War - Linda Hervieux

Spain in Our Hearts: Americans in the Spanish Civil War, 1936-1939 - Adam Hochschild

The Soldier from Independence: A Military Biography of Harry Truman - D. M. Giangreco & Alonzo L. Hamby

Black Earth: The Holocaust as History and Warning - Timothy Snyder

Europe on Trial - Istvan Deak

Diary of a Man in Despair - Friedrich Reck-Malleczewen

American Warlords - Jonathan W. Jordan

Operation Agreement - John Sadler

Raoul Wallenberg - Ingrid Carlberg

Berlin Ghetto - Eric Brothers

The Righteous: The Unsung Heroes of the Holocaust - Martin Gilbert

A Good Place to Hide - Peter Grose

in the poish secret war - Mazgaj, Marian S.

Hitler’s Forgotten Victims - Suzanne E. Evans

Holocaust Heroes - Mark Felton

(yes i know thats a ton of books, but it was hell whittling it down to just these!!!)

@thechibrarian

[stupitdodopooopoookaka]

U.S

U.S. Treasury outlines sweeping reform of capital markets U.S. Secretary of the Treasury Steven Mnuchin and Director of the National Economic Council Gary Cohn walk after meeting with Republican law makers about tax reform on Capitol Hill in Washington, U.S., September 12, 2017. REUTERS/Joshua Roberts October 6, 2017 By Michelle Price and Pete Schroeder WASHINGTON (Reuters) – The U.S. Treasury on Friday unveiled […] #Politics

https://capitalisthq.com/u-s-treasury-outlines-sweeping-reform-of-capital-markets/ Trump to unveil new responses to Iranian ‘bad behavior’: White House U.S. President Donald Trump participates in a briefing with senior military leaders at the White House in Washington, U.S., October 5, 2017. REUTERS/Yuri Gripas October 7, 2017 By Jonathan Landay WASHINGTON (Reuters) – President Donald Trump will announce new U.S. responses to Iran’s missile tests, support for “terrorism” and cyber operations as part of his […] #Politics

On Putin’s birthday, opposition activists protest, call for him to quit Supporters of Russian opposition leader Alexei Navalny attend a rally near the Kremlin in Moscow, Russia October 7, 2017. REUTERS/Andrey Volkov October 8, 2017 By Vladimir Soldatkin and Jack Stubbs MOSCOW/ST PETERSBURG (Reuters) – Police detained more than 200 opposition activists on Saturday for taking part in a wave of anti-Kremlin protests across Russia in […] #Politics https://capitalisthq.com/on-putins-birthday-opposition-activists-protest-call-for-him-to-quit/ Kim Jong Un praises nuclear program, promotes sister to center of power North Korean leader Kim Jong Un speaks during the Second Plenum of the 7th Central Committee of the Workers’ Party of Korea (WPK) at the Kumsusan Palace of the Sun, in this undated photo released by North Korea’s Korean Central News Agency (KCNA) in Pyongyang October 8, 2017. KCNA/via REUTERS. October 8, 2017 By James […] #Politics https://capitalisthq.com/kim-jong-un-praises-nuclear-program-promotes-sister-to-center-of-power/ Lightning’s Brown raises fist during national anthem Feb 3, 2016; Tampa, FL, USA; Tampa Bay Lightning right wing J.T. Brown (23) skates to the bench after scoring a goal against the Detroit Red Wings during the second period at Amalie Arena. Mandatory Credit: Kim Klement-USA TODAY Sports October 8, 2017 (Reuters) – Tampa Bay forward J.T. Brown raised a closed right fist […] #Politics https://capitalisthq.com/lightnings-brown-raises-fist-during-national-anthem/

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Acasă la tata [Back Home] (Andrei Cohn - 2015)

[bloglivre-blog]

Cinco filmes antiguerra nuclear que você precisa ver

New Post has been published on http://baixafilmestorrent.com/cinema/cinco-filmes-antiguerra-nuclear-que-voce-precisa-ver/

Cinco filmes antiguerra nuclear que você precisa ver

Desde a Guerra Fria (1945-1991), período de polarização ideológica e tensão armamentista entre os Estados Unidos e União Soviética, que a ameaça de um conflito nuclear nunca esteve tão próxima. Recentemente o líder norte-coreano Kim Jong Un, contrariando as sanções do Conselho de Segurança da Organização das Nações Unidas (ONU), realizou testes com mísseis e continua levando adiante seu programa nuclear. O ditador ameaça frequentemente bombardear o Japão, a Coreia do Sul e os Estados Unidos fazendo com que líderes do mundo inteiro já o considerem como uma ameaça à paz mundial com suas constantes ameaças.

Nessa semana a guerra de palavras se intensificou, com chance de se transformar em um conflito nuclear caso Washington decida tomar ações militares contra a Coreia do Norte. No último domingo (16), a televisão estatal do país asiático transmitiu imagens de uma apresentação de coral assistida por Kim Jong Un, neto de Kim Il Sung, um dia depois de uma enorme parada militar em Pyongyang, que em homenagem ao aniversário de 105 anos do nascimento de seu avô. O vídeo norte-coreano mostra mísseis explodindo os EUA, a bandeira do país pegando fogo e em seguida o chão coberto por cruzes parecendo um cemitério.

O início da era atômica influenciou os filmes de ficção científica da década de 1950. Produzido pela Toho Film Company Ltd. em 1954, Gojira (Godzilla, título no Brasil) é um longa metragem japonês usa a ameaça nuclear como base de enredo. Dirigido por Ishirō Honda, Godzilla é um monstro semelhante a um tiranossauro que desperta a partir de uma explosão nuclear. Seu tamanho colossal, terror, força e destruição lembram a fúria das bombas atômicas lançadas sobre Hiroshima e Nagasaki. Trata-se de um filme sério e político, produzido durante a Guerra Fria, período de ameaça de bomba tanto dos EUA quanto da União Soviética.

Godzilla inspirou todos os filmes com monstros gigantes ou kaijus (palavra japonesa que significa “besta estranha”, comumente traduzida como “monstro”), como em Cloverfield (2008) e Círculo de Fogo (2013).  Mais tarde outras produções desenvolveram o monstro como um personagem ora com características de um vilão, ora de um herói, frequentemente salvando Tóquio, e posteriormente outras cidades, de invasões de outros daikaijus e de alienígenas, destruindo grande parte dessas cidades no processo.

Na animação Gen, pés descalços, de 1983, é possível se aproximar da experiência do bombardeio de Hiroshima e Nagasaki, em agosto de 1945, e o seu impacto sob a perspectiva das vítimas. O trabalho é inspirado no testemunho direto de Kenki Nakazawa (1939-2012), um dos moradores e sobreviventes de Hiroshima. Aos seis anos Kenji viu sua cidade ser atacada e toda a sua família ser morta, restando apenas a sua mãe. Durante a década de 1970 ele começou a publicar o mangá Gen, pés descalços, que depois ganharia três adaptações para o cinema com atores, uma minissérie e duas animações (incluindo a citada).

“Nunca estivemos tão perto do fim.” Lançado em 2000, Treze Dias que Abalaram o Mundo é um drama estadunidense dirigido por Roger Donaldson com roteiro baseado em livro homônimo de 1968, escrito por Robert F. Kennedy, procurador-geral dos Estados Unidos de 1961 até 1964. No filme o Presidente John F. Kennedy e os membros da sua equipe descobrem que uma base nuclear está sendo construída em Cuba, antiga área de influência da União Soviética. O enredo retrata o episódio que ficou conhecido como a crise dos mísseis de Cuba, ocorrido em 1962.

Em Doutor Fantástico, de 1964, o cineasta Stanley Kubrick faz uma alusão ao episódio da crise dos mísseis de Cuba naquela que foi considerada a maior sátira política do século XX, na opinião do crítico de cinema Roger Ebert. Para Ebert trata-se de “(…) um filme que puxou o tapete sob a Guerra ao alegar que se uma ‘máquina de intimidação nuclear’ destrói toda a vida na terra, é difícil dizer exatamente o que ela intimidou.” [1]. Doutor Fantástico chegou a ser proibido em alguns países, incluindo a França. Idealizado inicialmente como um suspense de guerra fiel ao livro Alerta Vermelho (Red Alert, de 1958) escrito por Peter George, ex-tenente da Força Aérea Britânica, mas ao perceber as contradições do tema Kubrick transformou o projeto em uma comédia de humor negro.

O General americano Jack D. Ripper (Sterling Hayden) acredita que os soviéticos estão sabotando os reservatórios de água dos Estados Unidos e resolve atacar a União Soviética para se livrar dos comunistas. Com as comunicações interrompidas ele é o único que possui os códigos para parar as bombas e evitar o início da Terceira Guerra Mundial. Rodado em quatro locações principais (um escritório, um perímetro de uma base aérea, a “sala de guerra” e o interior do avião B-52), além da inspirada performance tripla do ator britânico Peter Sellers interpretando o Capitão Lionel Mandrake, o Presidente Merkin Muffley e o ex-general nazista Dr. Fantástico, o longa é recheado de situações hilariantes.

Duas cenas memoráveis merecem ser destacadas: a primeira acontece quando o Dr. Fantástico está na sala de guerra, ao lado do embaixador russo Alexei de Sadesky (Peter Bull), e a mão dele se descontrola, faz a saudação nazista e em seguida tenta esganá-lo. A segunda ocorre quando o General americano Buck Turgidson (George C. Scott) e o embaixador russo Sadesky começam a brigar quando são interrompidos pelo Presidente que diz: “Senhores, não briguem, aqui é a Sala de Guerra!”. Doutor Fantástico é uma das obras mais emblemáticas de Stanley Kubrick e termina de maneira dúbia:

“Após o primeiro ataque nuclear, Kubrick corta de volta para a sala de guerra, onde Fantástico reflete que minas profundas poderiam ser usadas como defesas para os sobreviventes, cujos descendentes poderiam voltar para a superfície terrestre em noventa anos (Turgidson fica intrigado com a proporção de dez mulheres para cada homem). Então, o filme termina abruptamente com a famosa montagem de várias nuvens em forma de cogumelo, enquanto Vera Lynn interpreta We’ll Meet Again.” [2]

Já o longa-metragem O Sacrifício, de 1986, dirigido pelo russo Andrei Tarkovsky retrata um intelectual de meia-idade, Alexander, que tenta negociar com Deus para deter um holocausto nuclear iminente. Estrelado por Erland Josephson na pele de Alexander, a ideia surgiu durante o período em que o cineasta ainda morava na União Soviética, mas o núcleo devia ser a história de como o herói Alexander se curaria de uma doença fatal depois de passar a noite com uma feiticeira. Posteriormente, no livro Esculpindo o Tempo também de autoria do cineasta russo, ele descreveria o personagem de Alexander da seguinte maneira:

“Não é um herói, mas é um homem honesto, um pensador que se mostra capaz de sacrifício em nome de um ideal nobre. Ele se mostra à altura da situação, sem tentar abandonar sua responsabilidade transferida para outros. Corre o perigo de não ser entendido, pois sua ação decisiva é tal que só pode parecer catastroficamente destrutiva para os que o rodeiam: este é o trágico conflito do seu papel. Contudo, ele dá o passo crucial, infringindo por meio dele as regras do comportamento “normal” e expondo-se à acusação de loucura, porque está consciente da sua ligação com a realidade máxima, com aquilo que poderia ser denominado destino do mundo. Em tudo isso, ele está apenas obedecendo a sua vocação, do modo como a sente em seu coração – não é o senhor do seu destino, mas seu servidor; e pode ser que através de esforços individuais como esse, que ninguém nota ou compreende, a harmonia do mundo seja preservada.” [3]

Apesar de essencial, O Sacrifício não é fácil de assistir. O ritmo é lento, os personagens geralmente estão afastados da câmera, além de ser carregado de diálogos nos quais os personagens abordam aspectos metafísicos da vida, da família, da morte, da fé, da religião e outros. Trata-se de uma alegoria poética que utiliza a tensão em torno da ameaça nuclear para abordar esses assuntos. Este foi o sétimo e último projeto dirigido por Andrei Tarkovsky. A película foi rodada inteiramente na Suécia, mas é uma co-produção sueca, britânica e francesa. O filme foi indicado a quatro categorias no Festival de Cannes de 1986, incluindo a Palma de Ouro, mas venceu em três: Grande Prêmio Especial do Júri, Prêmio da Crítica Internacional (FIPRESCI prize) e Prêmio do Júri Ecumênico (Prize of the Ecumenical Jury).

  REFERÊNCIAS:

[1] EBERT, Roger. A Magia do Cinema. Tradução de Miguel Cohn. 1ª ed. p. 184. Rio de Janeiro: Ediouro, 2004.

[2] EBERT, Roger. A Magia do Cinema. Tradução de Miguel Cohn. 1ª ed. p. 186. Rio de Janeiro: Ediouro, 2004.

[3] TARKOVSKI, Andrei. Esculpir o Tempo. Tradução de Jefferson Luiz Camargo. 2ª ed. p. 251. São Paulo: Martins Fontes, 1998.

[viralpearl-blog]

Lightning G Vasilevskiy signs eight-year, $76 million extension

Lightning G Vasilevskiy signs eight-year, $76 million extension

FILE PHOTO: Andrey Vasilevskiy is handed his new hat after being picked by the Tampa Bay Lightning in the first round of the NHL Draft in Pittsburgh, Pennsylvania, June 22, 2012. REUTERS/Jason Cohn

The Tampa Bay Lightning signed goaltender Andrei Vasilevskiy, the winner of the Vezina Trophy, to an eight-year, $76 million contract extension.

“Since joining the organization Andrei has shown…

[rudyroth79]

Lungmetrajul “Acasă la tata” de Andrei Cohn la “Romanian Film Festival” de la Washington D.C. (27 mai 2017) Sâmbătă, 27 mai 2017, de la ora 14.00, în East Buidling Auditorium din cadrul National Galery of Art din Washington D.C.

[gregor-samsung]

Acasă la tata [Back Home] (Andrei Cohn - 2015)

[gregor-samsung]

Acasă la tata [Back Home] (Andrei Cohn - 2015)