#Cristiano Mangione

[badgaymovies]

Knife + Heart (2018)

Knife + Heart by #YannGonzalez starring #VanessaParadis

YANN GONZALEZ Bil’s rating (out of 5): BBB Original Title: Un couteau dans le coeur France/Mexico/Switzerland, 2018. CG Cinéma, Piano, Garidi Films, Arte France Cinema, Radio Télévision Suisse, Centre National du Cinema et de L’Image Animee, ARTE, Canal+, Ciclic – Région Centre, Région Centre Val-de-Loire, Eficine 189, Memento Films, Kinology, Cofinova 14. Screenplay by Yann Gonzalez, Cristiano…

[theories-of]

Cristiano Mangione, Untitled (red painting), 2008. Ballpoint pen on canvas, 148 x 100 cm

[thinkingimages]

BROKEN FALL (GEOMETRIC) 11 April – 10 July 2010

Curated by Giovanni Iovane & Alessandra Pace

c/o GALLERIA ENRICO ASTUNI Via Iacopo Barozzi 3 – 40126 Bologna Italy

http://www.galleriaastuni.com

Falling is a metaphor and also a recurrent practice of modernity. The act of falling bares nuances and accents, which differ from the more generalist act of flying. The modernist flight implies in fact the conceptualization of the void; a non-performative presentation flavoured with a pinch of romanticism, as in the renowned photograph depicting Yves Klein who leaps into the void. Falling entails instead psychological complications—the ghost of failure lurks amongst us since over a century— but is also something inherent to the artistic act, which supposes a trajectory, a direction, an insistence on gravity and, most of all, the focus on an event, which adds or substitutes something to our daily panorama. According to Jean-Paul Sartre, the first Western artist to depict an actual fall—that is, a solid body with a specific weight dropping through space—was Tintoretto. The painting that initiates the representation of weightiness, and even of the moral effects of gravity, is The Miracle of the Slave (1547-48). Here the Saint does not flutter in the empty sky, but rather dashes head down (like Superman, Sartre acutely points out) aiming directly at the centre of the painting; it is no longer a simple flight but an actual geometric fall. A few years after Tintoretto’s picture Bruegel the Elder paints the Fall of Icarus (1555). Despite the title and subject of the painting, the artist essentially paints a landscape. In this landscape we can immediately detect a peasant at work and a ship in the foreground. But we strain to spot falling Icarus, and only after closer inspection do we notice two small legs about to plunge in the sea, which represent the event. Within a few years, the geometry of the fall appears both in its full plasticity (Tintoretto) and also in its conceptual and moral irrelevance (Bruegel). With the eyes of modernity (and of modernism) the fall head-down and those two small reversed legs still come across as marking the essential “positions” of the geometric fall. Of course the 20th C has added its own alterations, which are psychological, sentimental, or ostentatiously process-based. Yet these additions and supplements were already unexpectedly contained in the etymology of the word “to fail”: i.e. to deceive, to fall, to falter. Things occur and lapse after a more or less brief flight. The aspiration, or the object of desire, is no longer the leap—and the state of flight itself— but rather the act of the repeated fall, this time to the ground and moved by a precise intention (with the only exception of a romantic and deceptive leap into the void).

In an experimental film by Hans Richter from 1926, Vormittagsspuck, ante-meridian ghosts and dropping objects fall in a disorderly sequence. The fall, with a subtle and intricate analysis of its more or less vertical dynamism, becomes the fundamental “locus” of Buster Keaton’s films. Such intentional act with its precise geometries is taken on by a sphere of action, which includes for example Samuel Beckett, Barnett Newman’s paintings, and in the 1970′s a series of films by Bas Jan Ader devoted to the fall. Broken Fall (Geometric), a film dated 1971, can be adopted as symbol or manifesto for this intent, or perhaps wish of the artist, to present a direction, a precise target—even if “delayed” in Keatonesque-style—as a way of making room by means of an event, according to the laws of gravity and body mass. Whereas in Bas Jan Ader’s work it is the human body, in line with a history and tradition of performance art, which marks the geometry of the fall, in Bruce Nauman’s (late 60′s) or John Baldessari’s (early 70′s) it is a bouncing ball which offers the possibility of a straight line or other geometric figures—with an apparent and ironical overtake of Barnett Newman’s vertical lines—which inevitably recalls Icarus’ reversed legs.

In the last decades, the fall or hybrids of the flight with endpoints, such as levitation, have turned into yet more ghosts of Modernism.

They are spectres that testify to the survival in the contemporary visual panorama and in popular visual culture of the persistence of enquiry tools, which aim to determine what happens when something falls—or what would occur if something fell—on a specific point defined in space. Within this domain, as far as the human body is concerned, Bruce Nauman in his studio certainly provides a source of observation and experimentation. Acrobats and tightrope walkers have returned on the contemporary scene to defy the obsession with failure and the possibility of falling (an example is the documentary film Man on Wire, 2008). The homage to the modernist ghost of Klein suspended in the act of flying can ironically—and anthropologically, Michel Foucault would say—multiply itself in a series of “found” images of levitation (a subtle response to the active role that Marcel Duchamp assigned to the spectator in completing the work of art). The geometric fall can lead to the suspension (also of disbelief) in mid-air of some leaves, or of the social anxiety entailed in the fact of being placed on a precarious pedestal. Relating to the element of “deception” imbued in the etymology of the term suspension in flight (sub = from below + pendere = hang)—which lends itself to a supplementary inquiry that questions the force of gravity— a vast repertoire of objects persistently decline to fall to the ground. Finally, the geometric fall is also a matter of technique, which from Tintoretto to Jackson Pollock concerns the position of the painting in relation to dripping (and falling) paint.

Exhibited artists: Mario Airò, John Baldessari, Simone Berti, Hugo Canoilas, Gino De Dominicis, Rainer Ganahl, Susan Hiller, Tim Lee, Cristiano Mangione, Bruce Nauman, João Penalva, Superflex

Film screening: Bas Jan Ader, Hans Richter

[brokehorrorfan]

Knife+Heart will be released on Blu-ray and DVD on June 4 via Altered Innocence. Currently in select theaters, the French film was selected to compete for the Palme d'Or at the 2018 Cannes Film Festival.

Set in 1979 Paris, the film is described as an ode to the era’s works of Brian De Palma, Dario Argento, and William Friedkin. It was shot on 35mm film and features a retro score by M38.

French pop star Vanessa Paradis stars alongside Kate Moran, Nicolas Maury, and Noé Hernández. Yann Gonzalez (You and the Night) directs from a script he co-wrote with Cristiano Mangione.

Knife+Heart features 5.1 DTS-HD Master Audio in its original language with English subtitles. It includes reversible artwork and a fold-out poster insert. Special features, trailer, and synopsis are below.

Special features:

Interview with director/co-writer Yann Gonzalez and co-writer Cristiano Mangione

Islands (Les îles) short film by Yann Gonzalez

"Les Vacances Continuent” music video

Gothic video introduction by Pierre Emö

De Sperme et d'eau Fraiche

International, U.S., and XXX trailers

Paris, Summer 1979. Anne (French pop star Vanessa Paradis) produces third-rate gay porn. After her editor and lover Lois leaves her, she tries to win her back by shooting her most ambitious film yet with her trusted, flaming sidekick Archibald. But one of her actors is brutally murdered and Anne gets caught up in a strange investigation that turns her life upside-down.

[glenngaylord]

UNDRESSED TO KILL - My Review of KNIFE + HEART (4 Stars)

If you’re like me, you’ve been hungering for a lurid, trashy slasher movie, the kind that Brian De Palma used to churn out in all its pop-colored, split screen glory.  Imagine my excitement then when I heard about KNIFE + HEART from French filmmaker Yann Gonzalez and his co-writer Cristiano Mangione.  

Its description alone had me all dressed up in drag hiding in an elevator with a straight razor at the ready.  Set in the seedier side of 1979 Paris, the film follows hard-drinking Anne (Vanessa Paridis) a lesbian who produces gay porn who keeps losing members of her company to a leather-masked serial killer whose weapon of choice is a dildo equipped with a retracting switchblade.  Of course, like any great thriller, Anne has an Achilles Heel in the form of an obsession with her ex Lois (Kate Moran), who happens to act as her Editor.  As such, Anne creepily checks in on Lois through a peephole in the wall (a great image in the film) and somewhat pathologically incorporates everything that’s happening to her into her films.  Add a swirling, driving George Moroder-esque synth score by M83 and dazzlingly colorful, exciting cinematography by Simon Beaufils and a jumble of tones from campy to melodramatic to scary, and you have a film unlike any other…almost.  

I say “almost” because KNIFE + HEART is about cinema, so its references to such films as CRUISING, BODY DOUBLE, and VERTIGO, to name a few, plus an occasional nod to early John Waters, keep it from being totally original.  Clearly Gonzalez loves the films it references, but he also has something more on his mind.  KNIFE + HEART tackles such issues as homophobia, internalized and otherwise, the effects movies have on our lives and vice versa, how the art of storytelling can save our lives, and how sometimes unnatural obsessions are worth the risk.  No matter how you slice it (pun intended), it’s a wild, fun ride.  

Yes, it’s messy, bogged down and sometimes inert in its second half, unresolved, and completely unsatisfying as a whodunit, but if you just let its pure cinema wash over you, you may not care.  De Palma at his best, as with DRESSED TO KILL, operated in a similar fever dream state.  Paradis has a serious, commanding presence, an enigmatic stare and just the right amount of damage to her personality to anchor the film and allow supporting players like Nicholas Maury as one of her crew members to carry the campier elements with real flair.  The film speaks to cinema’s checkered past with depictions of gay people, and Maury relishes the opportunity to mince and smolder while refreshingly never being the object of derision.  In its own twisted way, the film reclaims the sissy persona  and puts it in its rightfully heroic place.  

The film consistently upends such tropes.  When was the last time you saw a lesbian seduce a straight man into going gay-for-pay?  When have you seen a film create the porn versions of its own sequences?  Things get clumsy and on-the-nose in the frankly boring last third, but it’s also seductively filmed, so my boredom may have just been hypnosis instead.  

While Paradis reminded me of Melanie Griffith in BODY DOUBLE, the major influence on this film has to be CRUISING.  The first kill almost feels like a shot-for-shot recreation, but Gonzalez adds a sickly growl and haunted eyes to his murderer.  It’s nightmare inducing.  Much like its predecessor, it throws out a slew of suspects but doesn’t quite resolve in a traditional mystery fashion.  Gonzalez, like Friedkin, seems more interested in shining a light on pathology and trauma than in achieving the perfect Rube Goldberg contraption.  It doesn’t quite have the depth of character to pull this off, but this genre rarely does.  Much like the films of Dario Argento, we simply relish the over-the-topness of it all, hang on for dear life, and hope we make it out alive.  

[culturizando]

#UnDíaComoHoy: 29 de noviembre en la historia

El 29 de noviembre es el día 333º día del año. Quedan 32 días para finalizar el año. Estos son algunos de los eventos más destacados que ocurrieron un día como hoy 29 de noviembre.

-Hoy se conmemora el Día internacional de solidaridad con el pueblo palestino. Recordemos que en 1947 la Asamblea General de la ONU dividió el Mandato Británico de Palestina en dos estados, uno árabe y otro judío. Durante varios siglos, el pueblo judío vivió dividido en varios países del mundo, especialmente en Europa, en lo que se conoce por Diáspora. La convivencia de éstos con el resto de europeos no siempre fue fácil, las persecuciones especialmente en la Europa del Este a finales del siglo XIX fueron determinantes para la aparición y auge del sionismo político, que reclamaba un Estado propio para todas las comunidades judías dispersas por el mundo. Los siónistas culturales subrayaban la importancia que tenía convertir a Palestina en un centro para el crecimiento espiritual y cultural del pueblo judío. En la época en la que se fundó el siónismo, Palestina formaba parte del Imperio Otomano y estaba habitada por cristianos y musulmanes en su gran mayoría, y una pequeña comunidad de judíos religiosos que, aunque minoritaria, tenía una implantación significativa especialmente en Jerusalén y alrededores.

-Hoy se celebra en Venezuela el Día del Escritor por conmemorarse el natalicio de Andrés Bello, quien nació un 29 de noviembre de 1781. Andrés Bello fue un filósofo, poeta, traductor, filólogo, ensayista, educador, político, diplomático, y jurista venezolano de la época Pre Republicana de la Capitanía General de Venezuela. Considerado como uno de los humanistas más importantes de América, contribuyó en innumerables campos del conocimiento.

-1314: muere en Fontainebleau, Felipe IV de Francia apodado ‘el Hermoso’, de la dinastía Capeto.

-1643: muere en Venecia (Italia), a los 76 años de edad, Claudio Monteverdi, considerado padre de la ópera moderna.

-1800: se aprueba e impone por ley la nueva unidad fundamental de medida llamada ‘metro’. El metro como unidad para medir longitudes se estableció por la Academia de Ciencias de París. En ese momento se definió como la diezmillonésima parte del cuadrante de un meridiano terrestre. Después se construyó un metro patrón, construido de iridio y platino y que fue depositado en la Oficina Internacional de Pesos y Medidas, en París. Posteriormente se intentaron buscar referencias más precisas que una simple barra de platino que, evidentemente podía se destruida o incluso cambiar. Actualmente la definición se ha vuelto a cambiar pues se detectaron imprecisiones en la definición anterior. Hoy en día el metro es la longitud de trayecto recorrido en el vacío por la luz durante un tiempo de 1/299 792 458 de segundo.

-1929: Francia y la Unión Soviética firman un pacto de no agresión.

-1929: Richard Evelyn Byrd, explorador, marino y aviador estadounidense, sobrevuela el Polo Sur.

-1940: nace Chuck Mangione, trompetista y compositor estadounidense.

1945: en los Balcanes se proclama la República Federal Socialista de Yugoslavia.

-1946: nace Silvio Rodríguez, cantautor, guitarrista y poeta cubano, exponente característico de la música de su país surgida con la Revolución cubana, conocida como la Nueva Trova Cubana, que comparte con otros reconocidos cantautores tales como Pablo Milanés, Noel Nicola y Vicente Feliú.

-1961: nace Tom Sizemore, actor estadounidense. Conocido por ser participar en films como Saving Private Ryan, Black Hawk Down, Heat, Días extraños, Pearl Harbor, entre muchas otras.

-1964: nace Don Cheadle, actor estadounidense. Reconocido por sus roles en películas como Traffic, Hotel Rwanda, Iron Man 2 y 3.

-1976: nace Anna Faris, actriz estadounidense. Ganó su fama luego de participar en producciones como Mom, The House Bunny, Scary Movie, Just Friends, entre otras.

-1986: muere muere Cary Grant, fue un actor británico nacionalizado estadounidense. Llegó a ser uno de los actores más populares durante décadas, no sólo por su atractivo físico, sino también por su elegancia, su encanto y su agudeza. De él se decía que actuaba bien hasta de espaldas. Trabajó con muchas de las grandes divas del cine de Hollywood: Marlene Dietrich, Mae West, Katherine Hepburn, Sophia Loren, Joan Fontaine, Ingrid Bergman, Ginger Rogers, Audrey Hepburn.

-2001: muere George Harrison, músico multiinstrumentista, compositor, cantante, productor musical y productor cinematográfico británico, integrante de la banda The Beatles. Aunque John Lennon y Paul McCartney fueron los principales compositores dentro del grupo, Harrison también incluyó composiciones propias en los discos de The Beatles, tales como «While My Guitar Gently Weeps», «Something», «Here Comes the Sun».

La entrada #UnDíaComoHoy: 29 de noviembre en la historia aparece primero en culturizando.com | Alimenta tu Mente.

[chocolatesuitcasefestivalcop]

“A chi dunque paragonerò gli uomini di questa generazione, a chi sono simili?”. Potremmo subito liquidare il vangelo di oggi dicendo che non ci riguarda molto perché noi certamente non siamo la stessa generazione di Gesù. Ma basta proseguire la lettura e accorgersi che dopo duemila anni le cose non sono cambiate molto: “Sono simili a quei bambini che stando in piazza gridano gli uni agli altri: Vi abbiamo suonato il flauto e non avete ballato; vi abbiamo cantato un lamento e non avete pianto!”. Quanto è difficile provocare la libertà delle persone. Molto spesso è più facile chiudersi in un atteggiamento di indifferenza, o criticare ad oltranza ma solo con lo scopo di non prenderci mai veramente la responsabilità di ciò che ci sta davanti. “È venuto infatti Giovanni il Battista che non mangia pane e non beve vino, e voi dite: Ha un demonio. È venuto il Figlio dell'uomo che mangia e beve, e voi dite: Ecco un mangione e un beone, amico dei pubblicani e dei peccatori”. Il fatto serio della fede è ciò che cambia la nostra vita. Ma la vera domanda è: vogliamo che qualcuno ci cambi la vita? Se ciò accadesse davvero non saremmo più autorizzati a lamentarci, a vivere di vittimismi, a prendercela con qualcuno. E ho il sospetto che a noi piace moltissimo invece vivere potendo lamentarci, ricoprire il ruolo di vittima e dare la colpa a qualcuno. Allora da una parte invochiamo cambiamento, ma dall’altra troviamo mille scuse affinché questo non accada mai veramente. Quindi importa poco se ti trovi davanti all’austerità di Giovanni, o all’empatia di Gesù: nel primo caso dirai che è uno spostato troppo rigido, e nel secondo un buonista a cui piace la compagnia. A chi mi dice che non va più in Chiesa per colpa dei preti o di alcuni cristiani, devo spesso ricordare che in Chiesa non si va né per la simpatia dei ministri, ne per la cordialità dei parrocchiani. E se delle volte un buon prete o un buon cristiano sono un formidabile aiuto alla propria fede, è pur vero che ciò che conta quando si ha sete è l’acqua e non la qualità del bicchiere. Luca 7,31-35 #dalvangelodioggi Don Luigi Maria Epicoco #vangelodelgiorno https://www.instagram.com/p/B2imvJVigfI/?igshid=1r7so4k77v68e

[mrmichaelchadler]

Knife+Heart

I was initially put off by the sometimes crass, sometimes glib tone of "Knife+Heart," a French period thriller that sometimes feels like a dumb tribute to Italian gialli, the kind of sleazy thrillers that (in the 1970s and 1980s) combined elements of whodunit mysteries and slasher horror movies. I often rolled my eyes at the kitschy, broad humor that "Knife+Heart" director Yann Gonzalzez (who co-wrote the film with Cristiano Mangione) sometimes used to characterize his sexually active queer characters. Partly because I knew that "Knife+Heart" follows sexually active gay characters and is set in Paris just before the AIDS crisis of the 1980s. 

But mostly because the movie begins with a joyless and gross murder: a mask-wearing killer ululates like a wounded animal while he repeatedly stabs his young lover with a black, dildo-shaped dagger. That scene's glib tone carries over into almost every scene where the movie's protagonists—who are all, in some way, involved with the making of gay male-on-male pornography—either film or exhibit their own dirty movies. These movies within the movie are a little too kitschy, and that makes it difficult to sympathize with the protagonists' heavy concerns: Is it ok to seek out romance, to be sexually active, and to be openly gay at a time that we now know was dangerous for queer lovers? 

Thankfully, director Gonzalez and Mangione usually settle on a tone that's more pensive than playful, making "Knife+Heart" a satisfying, unsentimental psychodrama.

In their movie's better moments, Gonzalez and Mangione's refuse to soften up Anne (Vanessa Paradis), an emotionally volatile, but basically sympathetic producer of low-budget gay porn. Which is saying something since Anne is pretty desperate when we meet her. She's just been dumped by reclusive film editor Lois (Kate Moran) and isn't too proud to beg Lois to be taken back. Multiple times, even. Paradis, as Anne, pleads with a raw intensity that carries over into crying, touching, and other forms of unsolicited clinginess. Her character is also clearly turned on by Nans (Khaled Alouach), a young construction worker whose stand-out features are completely superficial: he's young, un-self-conscious, and very ... familiar. 

To Anne, Nans looks just like Fouad (also Alouach), the star of some of her favorite older productions. But Fouad is long gone—or so we're told—and Nans isn't exactly what Anne wants him to be. Though she does, essentially, seduce him when she asks him to star in her films. Not an easy task since Nans isn't dumb enough to roll over when Anne assures him that she only sometimes produces gay porn. He hesitates to agree to anything, so she half-taunts, half-challenges him: "I pegged you as more modern." After this brief encounter, Anne returns to her car with a big smile: even if Nans says no, she'll find new talent for her films, just by scouring the nearby work-sites.

Meanwhile: Anne's friends are systematically being murdered by the above-mentioned masked killer. Though honestly, most of these guys aren't Anne's friends—they just party with her and have unsimulated sex in her movies. Gonzalez and Mangione never out-right accuses Anne of exploiting her randy actors, but the implication often hangs over her head, like when she watches one of her older movies, or when she tries to get handsy with Lois. 

Also: while Anne never explicitly asks herself if she's to blame, Paradis' restless performance makes that concern apparent. You can tell a lot from Paradis' woozy, far-away stare when Anne—talking to a solicitous and unhelpful police officer—defends her actors' decision to star in gay porn: "When you lose yourself with another partner, or persons ... when you lose control ... have you ever felt that? It's a form of love ... voracious ... boundless." That line is pretty vague, but Paradis makes it seem very revealing. 

And in time, even Gonzalez and Mangione's broad application of gallows humor makes sense, especially when you think of Anne's porn as an extension of the dream-like scene where she watches a grisly cabaret act at a gay night club. The other attendants—all smoking, well-dressed, drinking—laugh along with the scene's on-stage performers: two older women, both in fish-net stockings, one of whom begs the other (dressed in a cabaret-friendly bear costume) to maul her. The bear complies and claws at her lover with her extra-long nails. In this grand-guignol-style setting, the victim understandably over-performs her own eulogy: "Yesterday, we came. Tomorrow, we die." I don't buy Anne's fantasies, but I do believe that she's real.

from All Content https://ift.tt/2O5cQvC

[hellosaltysaladcollectionstuff]

"Is none of this affecting you at all?" Altered Innocence has debuted a full-length, official US trailer for a French murder thriller titled Knife+Heart, which premiered at the Cannes Film Festival last year. The film goes under the title Un couteau dans le coeur in France, which translates directly to A knife in the heart, but I prefer the official version more. Set in Paris in the summer 1979, the film follows Anne, a producer of third-rate gay porn. When Loïs, her editor & companion, leaves her, she attempts to reclaim her by turning a film more ambitious, but one of her actors ends up murdered. Vanessa Paradis stars as Anne, with Kate Moran, Nicolas Maury, Jonathan Genet, Khaled Alouach, & Félix Maritaud. Including an original score by M83. The film has been described as a "gleefully trashy exploitation film" that is kind of like "gay porn meets Giallo slasher." If that sounds like your kind of kink, you should definitely check this out below.

Here's the official US trailer (+ two posters) for Yann Gonzalez's Knife+Heart, from YouTube (via B-D):

Anne (Vanessa Paradis) produces third-rate gay porn. After her editor and lover Lois leaves her, she tries to win her back by shooting her most ambitious film yet with her trusted, flaming sidekick Archibald. But one of her actors is brutally murdered and Anne gets caught up in a strange investigation that turns her life upside-down. Knife+Heart, also known as Un couteau dans le coeur in French, is directed by French filmmaker Yann Gonzalez, his second feature film after making You and the Night previously, as well as a number of short films. The screenplay is written by Yann Gonzalez & Cristiano Mangione. This premiered at the Cannes Film Festival last year, and also played at Fantastic Fest, AFI Fest, Morbido Film Fest, and the Reyjkavik, London, Adelaide, and Brooklyn Horror Film Festivals. Altered Innocence will release Gonzalez's Knife+Heart in select US theaters starting March 15th coming up this winter. Anyone curious about this?

from FirstShowing.net http://bit.ly/2FSrB2A

[nanndemonai]

凡妮莎帕荷蒂主演、前 M83 成員楊岡薩雷斯執導坎城影展競賽片《Knife + Heart》首支預告公開

《Knife + Heart》｜Yann Gonzalez｜2018｜法國 / 墨西哥 / 瑞士

今年的坎城影展目前已接近倒數階段，在主競賽單元只剩下兩部作品尚未放映。在今年的主競賽單元有別於以往的「高星度」多選入國際大導或是自家所培育出的「嫡系」導演新片，反而大膽的拒絕了多位原本被外界看好可以入選的知名導演新片，反其向的找來多位新面孔為過往幾年被外界詬病疲乏的片單當中注入了新氣象。在今年有老將與新生交錯的主競賽單元放映至今已有不少部作品開出好評，更鮮少的沒有劣評電影的出現。以每年由 Screen Daily 所策劃的影評評分制場刊「Jury Grid」來看，今年整體的平均分數相當之高，更有破往年紀錄高分的作品出現，也就是韓國導演李滄東睽違七年的新片《燃燒烈愛》，而在這之中僅有一部由法國女導演 Eva Husson 執導的《Girls of the Sun》拿到了較低的分數，其餘作品則大多有達到水準之上。

▼ 《燃燒烈愛》電影劇照

今年的坎城影展放映至今也獲得了國際媒體間的讚賞，對於在主競賽單元突破以往的新樣貌紛紛表達認同，縱使並不是每部入選的作品都擁有高水準，但卻確實的展現了不同國家、類型與文化電影的多樣化，著實的為歷史悠久且地位崇高的坎城影展揭開了新的一頁。而在昨日於法國坎城放映的兩部電影目前也皆已傳出了好評，包括由黎巴嫩女導演 Nadine Labaki 執導的《Capernaum》獲得了滿堂彩，另一部由法國男導演 Yann Gonzalez 執導的《Knife + Heart》（法原文：Un Couteau Dans Le Coeur）也同樣的以異色類型之姿在媒體間引起了討論度，而在這部電影昨日正式舉辦首映之前也公開了首支電影預告，接下來就為各位介紹這部《Knife + Heart》。

《Knife + Heart》為法國導演 Yann Gonzalez 所編導的第二部長片作品，他曾是知名法國電子搖滾樂團「M83」的成員，而近年來則將重心轉至電影創作之上。他在 2013 年所執導的第一部長片作品《午夜狂歡》曾在坎城影展會外平行單元的「影評人週」中特別放映，在當時這部大膽且充滿情慾的實驗性作品即引起了不小的討論度，而這回導演則再度將核心聚焦在其所擅長的同志情慾題材上帶來的第二部長片《Knife + Heart》，並與新銳編劇 Cristiano Mangione 共同執筆電影劇本。這回導演則受到了坎城影展的賞識晉升至主競賽單元中，在第二波的片單當中以新銳導演之姿擠進了共爭金棕櫚殊榮的行列當中。

▼ 《午夜狂歡》電影劇照

《Knife + Heart》以 1979 年的夏日巴黎作為故事背景，劇情描寫一位以製作三流同志色情影片為業的 Anne 的剪輯師女友 Loïs 離開了她，而 Anne 則與她的親信 Archibald 試圖拍攝一部極具野心的影片來重新獲得 Loïs 的芳心。 然而，在這之間 Anne 的一位演員遭到了殘忍的謀殺，並且讓她牽連進了一段奇怪的調查事件當中，更因此讓他的生活陷入了前所未有的混亂之中。

這次在《Knife + Heart》中導演 Yann Gonzalez 找來了《花神咖啡館》大牌女歌手兼演員的 Vanessa Paradis 助陣飾演女主角 Anne，並再度找回曾在《午夜狂歡》中合作過的《通靈美人》Kate Moran 及《巴黎我愛你》Nicolas Maury 分別飾演女友 Loïs 及親信 Archibald。

▼ 《Knife + Heart》電影劇照

這次導演 Yann Gonzalez 在《Knife + Heart》中嘗試用 35mm 的膠卷拍攝以營造出 80 年代初法國巴黎的時代氛圍以及使用 16mm 膠卷拍攝出當時同志色情影片的質感，並交由《維多莉亞沒有祕密》攝影師 Simon Beaufils 掌鏡。而在配樂的環節則理所當然的找來了其親兄弟 Anthony Gonzalez 仍在團的 M83 來操刀，在此之前 M83 曾為好萊塢大片 《遺落戰境》製作過電影配樂，其創作也曾多次在如《分歧者》系列電影當中被使用。

《Knife + Heart》昨晚已於法國坎城中首映，而首映後各界影評目前有志一同的認為這部融合同志色情影片以及連環殺人事件的驚悚電影帶有著「義大利鉛黃電影（Giallo）」的神采，並表示這是今年主競賽單元中風格最迥異且驚人的電影之一。在相關的評論當中也不乏看見影評人以《魔女嘉莉》驚悚大師 Brian De Palma、《坐立不安》義大利鉛黃電影代表人物 Dario Argento 以及《天蠍座升起》美國前衛電影大師 Kenneth Anger 的電影比擬，更以「就像是如果 Brian De Palma 來執導《虎口巡航》（Cruising）」來比喻這部電影。

▼ 《虎口巡航》電影劇照

《Knife + Heart》在坎城影展首映後預計於 6 月 20 日正式在法國國內上映，台灣的方面目前則尚未有發行商表明代理之事宜。

▼ 《Knife + Heart》電影預告

▼ 《Knife + Heart》電影海報

[donato33]

IL GRANELLINO🌱 (Lc 7,31-35) Gli Ebrei non si convertirono né alla predicazione di Giovanni Battista né a quella di Gesù Cristo. Non accolsero il Battista perché dicevano che era austero, duro e intransigente. Non accolsero il Nazzareno perché dicevano che era un beone, un mangione e un frequentatore di pubblici peccatori e di prostitute. Intanto la Chiesa cominciò la sua esistenza grazie ai pubblici peccatori e prostitute che, con gioia e passione, si convertirono alla parola di Gesù che era seria (non severa), ma misericordiosa. Chiedo a Giovanni: "Giovanni, perché non vai in chiesa?". La risposta è: "Non vado in chiesa perché è un luogo di festaioli. È frequentata da gente che, per anni, è vissuta allegramente. E ora dice di aver cambiato vita. Ma io ne dubito. Poi c'è il prete che non sopporto. Non sembra affatto un consacrato del Signore. Non veste da prete. Lo trovo spesso nelle pizzerie della città. Ecco perché ho deciso di non appartenere a nessuna chiesa.". Chiedo a Pietro: "Pietro, perché non vai in chiesa?". La risposta è immediata: "Quando vado in chiesa, mi sembra di accompagnare un morto al cimitero. L'aria è funebre. Il volto della gente è serioso. Non vedo volti che sorridono. Il prete poi è austero. Alla sua presenza uno si sente a disagio. Rimprovera sempre. Non ha capito che i tempi sono cambiati. C'è una nuova mentalità e deve adeguarsi ad essa. Non siamo più nel medioevo. Perciò ho deciso di essere cristiano fuori della chiesa.". Quando ero piccolo, davanti a casa mia c'era un abbeveratoio per gli animali. A sera, ritornando dalla campagna, i contadini vi portavano i cavalli o gli asini ad abbeverarsi. Quando vedevano che l'animale tardava a bere, fischiavano per indurlo a bere. Ma, nonostante il fischio, l'animale si rifiutava di bere. Da qui il proverbio: se l'asino non vuol bere, è inutile fischiare. Così per l'uomo che non vuole convertirsi seriamente: giustifica sempre il suo rifiuto di convertirsi. Amen. Alleluia. (P. Lorenzo Montecalvo dei Padri Vocazionisti)

[genevieveetguy]

Knife + Heart (Un couteau dans le coeur), Yann Gonzalez (2018)

[mrmichaelchadler]

#347 February 5, 2019

Matt writes: Though the 2019 Sundance Film Festival wrapped this past Sunday, RogerEbert.com is still adding to its coverage of the various cinematic highlights, all of which can be found in our official Table of Contents. There you will find reviews and interviews penned by Brian Tallerico, Nick Allen, Tomris Laffly and Monica Castillo, as well as special dispatches from this year's trio of Ebert Fellows: Niani Scott, Whitney A. Spencer and Tiffany Walden.

Trailers

Knife + Heart (2019). Directed by Yann Gonzalez. Written by Yann Gonzalez and Cristiano Mangione. Starring Vanessa Paradis, Kate Moran, Nicolas Maury. Synopsis: Paris, summer 1979. Anne is a producer of gay porn at discount. When Loïs, her editor and companion, leaves her, she attempts to reclaim her by turning a film more ambitious with the flamboyant Archibald. Opens in US theaters on March 19th, 2019.

The Death and Life of John F. Donovan (2019). Directed by Xavier Dolan. Written by Xavier Dolan and Jacob Tierney. Starring Natalie Portman, Sarah Gadon, Emily Hampshire. Synopsis: A decade after the death of an American TV star, a young actor reminisces the written correspondence he shared with him, as well as the impact those letters had on both their lives. US release date is TBA.

Donnybrook (2019). Written and directed by Tim Sutton (based on the novel by Frank Bill). Starring Margaret Qualley, Frank Grillo, Jamie Bell. Synopsis: Two men prepare to compete in a legendary bare-knuckle fight where the winner gets a $100,000 prize. Opens in US theaters on February 15th, 2019.

The White Crow (2019). Directed by Ralph Fiennes. Written by David Hare. Starring Oleg Ivenko, Adèle Exarchopoulos, Ralph Fiennes. Synopsis: The story of Rudolf Nureyev's defection to the West. US release date is TBA.

The Wedding Guest (2019). Written and directed by Michael Winterbottom. Starring Dev Patel, Radhika Apte, Jim Sarbh. Synopsis: A story centered on a mysterious British Muslim man on his journey across Pakistan and India. Opens in US theaters on March 1st, 2019.

Apollo 11 (2019). Directed by Todd Douglas Miller. Synopsis: A look at the Apollo 11 mission to land on the moon led by commander Neil Armstrong and pilot Buzz Aldrin. US release date is TBA.

Wonder Park (2019). Directed by Robert Iscove, Clare Kilner and David Feiss. Written by Josh Appelbaum and André Nemec. Starring Jennifer Garner, Kenan Thompson and John Oliver. Synopsis: The story of a magnificent amusement park where the imagination of a wildly creative girl named June comes alive. Opens in US theaters on March 15th, 2019.

The Breaker Upperers (2019). Written and directed by Madeleine Sami and Jackie van Beek. Starring Madeleine Sami, Jackie van Beek, James Rolleston. Synopsis: For the right price, BFFs Jen and Mel will ruthlessly end any romance. But when one grows a conscience, it threatens to derail their relationship. Debuts on Netflix on February 15th, 2019.

Hobbs & Shaw (2019). Directed by David Leitch. Written by Chris Morgan (based on characters created by Gary Scott Thompson). Starring Dwayne Johnson, Idris Elba and Jason Statham. Synopsis: Lawman Luke Hobbs and outcast Deckard Shaw form an unlikely alliance when a cyber-genetically enhanced villain threatens the future of humanity. Opens in US theaters on August 2nd, 2019.

United Skates (2019). Directed by Tina Brown and Dyana Winkler. Synopsis: When America's last standing roller rinks are threatened with closure, a community of thousands battle in a racially charged environment to save an underground subculture--one that has remained undiscovered by the mainstream for generations, yet has given rise to some of the world's greatest musical talent. Premieres on HBO on February 18th, 2019.

Extremely Wicked, Shockingly Evil and Vile (2019). Directed by Joe Berlinger. Written by Michael Werwie. Starring Lily Collins, Zac Efron, Angela Sarafyan. Synopsis: A chronicle of the crimes of Ted Bundy, from the perspective of his longtime girlfriend, Elizabeth Kloepfer, who refused to believe the truth about him for years. US release date is TBA.

Hotel by the River (2019). Written and directed by Sang-soo Hong. Starring Joo-Bong Ki, Min-hee Kim, Hae-hyo Kwon. Synopsis: It is the dead of winter and a poet invites his sons to join him at a hotel for a reunion. The hotel also hosts a newly single woman who has a friend keep her company and with whom she shares a room, strolls and conversations. The poet is drawn to the beautiful girls and cannot resist the temptation to discover more. Their lives intersect, connect and disconnect and potentially become a metaphor for modern life. Opens in US theaters on February 15th, 2019.

Pain & Gloria (2019). Written and directed by Pedro Almodóvar. Starring Penélope Cruz, Antonio Banderas, Raúl Arévalo. Synopsis: A film director reflects on the choices he's made in life as past and present come crashing down around him. US release date is TBA.

The Boy Who Harnessed the Wind (2019). Written and directed by Chiwetel Ejiofor (based on the book by William Kamkwamba and Bryan Mealer). Starring Lily Banda, Noma Dumezweni, Chiwetel Ejiofor. Synopsis: A boy in Malawi helps his village by building a wind turbine after reading about them in a library book. Debuts on Netflix on March 1st, 2019.

Out of Blue (2019). Written and directed by Carol Morley (based on the novel by Martin Amis). Starring Patricia Clarkson, Jacki Weaver, Mamie Gummer. Synopsis: When Detective Mike Hoolihan is called to investigate the shooting of leading astrophysicist and black hole expert, Jennifer Rockwell, she is affected in ways she struggles to comprehend. Opens in US theaters on March 15th, 2019.

The Biggest Little Farm (2019). Directed by John Chester. Synopsis: Documentarian John Chester and his wife Molly work to develop a sustainable farm on 200 acres outside of Los Angeles. Opens in US theaters on April 5th, 2019.

The Professor and the Madman (2019). Directed by Farhad Safinia. Written by John Boorman, Todd Komarnicki and Farhad Safinia (based on the book by Simon Winchester). Starring Natalie Dormer, Mel Gibson, Sean Penn. Synopsis: Professor James Murray begins work compiling words for the first edition of the Oxford English Dictionary in the mid 19th century, and receives over 10,000 entries from a patient at Broadmoor Criminal Lunatic Asylum, Dr. William Minor. US release date is TBA.

Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) (2020). Directed by Cathy Yan. Written by Christina Hodson (based on the comics by Chuck Dixon, Jordan B. Gorfinkel and Greg Land). Starring Margot Robbie, Jurnee Smollett-Bell, Mary Elizabeth Winstead. Synopsis: After splitting up with the Joker, Harley Quinn joins three female superheroes - Black Canary, Huntress and Renee Montoya - to save the life of a little girl from an evil crime lord. Opens in US theaters on February 7th, 2020.

Richard Dreyfuss on "Jaws" 

Matt writes: I recently had the honor of chatting with Oscar-winner Richard Dreyfuss about his extraordinary career prior to a Chicagoland screening of Steven Spielberg's 1975 classic, "Jaws." Deborah Kolar, the eldest daughter of Dreyfuss' towering co-star, Robert Shaw, also shared with me memories about her father. Click here for the full article.

R.I.P. Dick Miller (1928-2019)

Matt writes: The beloved character actor, whose career spanned over six decades, is eulogized beautifully by one of his greatest champions, Peter Sobczynski. Click here for the full article as well as video footage of Sobczynski's interview with Miller at the 2014 Chicago Critics' Film Festival.

Free Movies

Three Ages (1923). Directed by Edward F. Cline and Buster Keaton. Written by Clyde Bruckman, Joseph A. Mitchell and Jean C. Havez. Starring Buster Keaton, Margaret Leahy, Wallace Beery. Synopsis: The misadventures of Buster in three separate historical periods.

Watch "Three Ages"

Things to Come (1936). Directed by William Cameron Menzies. Starring Raymond Massey, Edward Chapman, Ralph Richardson. Synopsis: The story of a century: a decades-long second World War leaves plague and anarchy, then a rational state rebuilds civilization and attempts space travel.

Watch "Things to Come"

Storm in a Teacup (1937). Directed by Ian Dalrymple and Victor Saville. Written by Ian Dalrymple and Donald Bull (based on the play by Bruno Frank). Starring Vivien Leigh, Rex Harrison, Cecil Parker. Synopsis: A local politician in Scotland tries to break the reporter who wrote a negative story about him, and who is also in love with his daughter.

Watch "Storm in a Teacup"

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