#Toronto Internation Fim Festival

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100 YARDS(2024) Is A Spectacular Martial Arts Romp

  November 21, 2024 (NYC)– 100 YARDS (2024) Is A Spectacular Martial Arts Romp.  100 YARDS (2024) is the newest martial arts action film hitting US markets last week.  This action packed epic is in theaters, and available on Digital and Blu-ray shortly. Here is a synopsis and review of this Well Go USA Entertainment release. SYNOPSIS: In volatile 1920s Tianjin, a mere decade after China’s last…

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Inês de Castro, Queen of Portugal (posthumous), (Wife of King Pedro I of Portugal

Inês de Castro (1325 – 7 January 1355 in Coimbra) was a Galician noblewoman best known as lover and posthumously-recognized wife of King Pedro I of Portugal. The dramatic circumstances of her relationship with Pedro (at the time Prince of Portugal), which was forbidden by his father King Afonso IV, her murder at the orders of Afonso, Pedro's bloody revenge on her killers, and the legend of the coronation of her exhumed corpse by Pedro, have made Inês de Castro a frequent subject of art, music, and drama through the ages.

Inês was the natural daughter of Pedro Fernández de Castro, Lord of Lemos and Sarria, and his noble Portuguese mistress Aldonça Lourenço de Valadares. Her family descended both from the Galician and Portuguese nobilities. She was also well connected to the Castilian royal family, by illegitimate descent. Her stepmother was Infanta Beatriz of Portugal, the youngest daughter of Afonso of Portugal, Lord of Portalegre and Violante Manuel. Her grandmother was Violante Sánchez de Castile, Lady of Uzero, the illegitimate daughter of Sancho IV of Castile. Her great-great grandfather was Rodrigo Alfonso de León, Lord of Aliger, the illegitimate son of Afonso IX of León. She was also legitimately descended from Infanta Sancha Henriques of Portugal, the daughter of Henry, Count of Portugal.

Inês came to Portugal in 1340 as a maid of Constança of Castile, recently married to Pedro, the heir apparent to the Portuguese throne. The prince fell in love with her and started to neglect his lawful wife, endangering the already feeble relations with Castile. Moreover, Pedro's love for Inês brought the exiled Castilian nobility very close to power, with Inês's brothers becoming the prince's friends and trusted advisers. King Afonso IV of Portugal, Pedro's father, disliked Inês's influence on his son and waited for their mutual infatuation to wear off, but it did not.

Constança of Castile died in 1345. Afonso IV tried several times to arrange for his son to be remarried, but Pedro refused to take a wife other than Inês, who was not deemed eligible to be queen. Pedro's legitimate son, future King Fernando I of Portugal, was a frail child, whereas Pedro and Inês's illegitimate children were thriving; this created even more discomfort among the Portuguese nobles, who feared the increasing Castilian influence over Pedro. Afonso IV banished Inês from the court after Constança's death, but Pedro remained with her declaring her as his true love. After several attempts to keep the lovers apart, Afonso IV ordered Inês's death. Pêro Coelho, Álvaro Gonçalves, and Diogo Lopes Pacheco went to the Monastery of Santa Clara-a-Velha in Coimbra, where Inês was detained, and killed her, decapitating her in front of her small child. When Pedro heard of this he sought out the killers and managed to capture two of them in 1361. He executed them publicly, ripping their hearts out claiming they didn't have one after having pulverized his own heart.

Pedro became king of Portugal in 1357 (Pedro I of Portugal). He then stated that he had secretly married Inês, who was consequently the lawful queen, although his word was, and still is, the only proof of the marriage.

During the 1383–85 Crisis of royal succession in Portugal, João das Regras

produced evidence that allegedly established that Pope Innocent IV had refused Pedro's request to recognize his marriage to Inês and legitimize his children by her, the elder of whom, João, Duke of Valencia de Campos

would have a strong potential claim to the throne of Portugal. By negating these children's claimed legitimacy, João das Regras strengthened the claim of another illegitimate child of Pedro I of Portugal: João, Master of Aviz, who ultimately took the throne and ruled as João I of Portugal.

Some sources say that after Pedro became king of Portugal, he had Inês' body exhumed from her grave and forced the entire court to swear allegiance to their new queen: "The king [Pedro] caused the body of his beloved Inês to be disinterred, and placed on a throne, adorned with the diadem and royal robes. and required all the nobility of the kingdom to approach and kiss the hem of her garment, rendering her when dead that homage which she had not received in her life..." 

Some modern sources characterize the story of the Inês' post-mortem coronation is a "legend." and it is most likely a myth, since the story only appeared in 1577 in Jerónimo Bermúdez' play Nise Laureada. She was later buried at the Monastery of Alcobaça where her coffin can still be seen, opposite Pedro's so that, according to the legend, at the Last Judgment Pedro and Inês can look at each other as they rise from their graves. (which is also not true since the tombs already were in different positions before). Both marble coffins are exquisitely sculpted with scenes from their lives and a promise by Pedro that they would be together até ao fim do mundo (until the end of the world).

Inês de Castro and Pedro I had the following children, who were legitimized by Pedro I on 19 March 1361:

Afonso, died shortly after birth.

Beatriz (1347-1381), married Sancho Alfonso, 1st Count of Alburquerque and was thereby the great-grandmother of Fernando II of Aragon.

João (1349-1387), Duke of Valencia de Campos, claimant to the throne during the 1383–85 Crisis.

Dinis (1354-1397), Lord of Cifuentes, claimant to the throne during the 1383–1385 Crisis.

Inês de Castro's story is immortalized in several plays and poems in Portuguese, such as The Lusíadas by Luís de Camões (canto iii, stanzas 118-135), and Spanish, such as Nise lastimosa and Nise laureada (1577) by Jerónimo Bermúdez, Reinar despues de morir by Luís Vélez de Guevara, as well as by the comtesse de Genlis (Inès de Castro, 1826), and in a play by French playwright Henry de Montherlant called La Reine morte (The Dead Queen). Inês de Castro is a novel by Maria Pilar Queralt del Hierro in Spanish and Portuguese.

Plays written in English include Aphra Behn's Agnes de Castro, or, the Force of Generous Love (1688); and Catharine Trotter Cockburn's Agnes de Castro (1695). Mary Russell Mitford also wrote a drama from the story entitled Inez de Castro.

Felicia Hemans' poem The Coronation of Inez de Castro first appeared in The New Monthly Magazine in 1828.

She is a recurring figure in Ezra Pound's The Cantos. She appears first at the end of Canto III, in the lines Ignez da Castro murdered, and a wall/Here stripped, here made to stand.

There have been over 20 operas and ballets created about Inês de Castro. Operas from the 18th and 19th centuries include:

Ines di Castro by Bernhard Anselm Weber (1790, Hanover)

Ines di Castro by Niccolò Antonio Zingarelli (1798)

Ines de Castro by Walter Savage Landor (1831)

Ines de Castro by Giuseppe Persiani to a libretto by Salvadore Cammarano (1835)

Ines di Castro by Pietro Antonio Coppola (1842, Lisbon)

In modern times, Inês de Castro has continued to inspire operatic works, including:

Ines de Castro by Scottish composer James MacMillan. This work was first performed at the 1996 Edinburgh International Festival

Wut [de] (Rage) in German by Swiss composer Andrea Lorenzo Scartazzini. The world premiere of this work was given at the Theater Erfurt, Germany, on 9 September 2006.

Ines de Castro by American composer Thomas Pasatieri. This work premiered in 1976 with the Baltimore Opera Company.

Ines by Canadian composer James Rolfe. Premiered in 2009 by the Queen of Puddings Music Theatre Company in Toronto.

In addition, Portuguese composer Pedro Camacho (born 1979) composed the Requiem to Inês de Castro, first performed on March 28, 2012 in New Cathedral of Coimbra on the occasion of 650 years of the transportation of Ines de Castro's body from Coimbra to Alcobaça Monastery. Christopher Bochman, with the Lisbon Youth Orchestra, has produced an opera "Corpo E Alma" (Body and Soul) focusing on Pedro's transition from a sensual to a spiritual love following her death, drawing on various aspects of the tale.

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Toronto International Film Festival 2017: Award Winners

https://movies.mxdwn.com/news/toronto-international-film-festival-2017-award-winners/

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Os brazucas em Berlim: conheça os filmes brasileiros premiados no Festival de Berlim

New Post has been published on http://baixafilmestorrent.com/cinema/os-brazucas-em-berlim-conheca-os-filmes-brasileiros-premiados-no-festival-de-berlim/

Os brazucas em Berlim: conheça os filmes brasileiros premiados no Festival de Berlim

A 69ª edição do Festival Internacional de Cinema de Berlim chegou ao fim no último domingo (17). Esse ano o Brasil esteve presente com 12 filmes diferentes. Os documentário Rise e Espero Tua (Re)volta e a ficção científica Breve História do Planeta Verde saíram premiados do festival, esses dois últimos inclusive com dois prêmios cada. O filme Marighella, dirigido por Wagner Moura, que fez sua estreia na função, foi o único filme nacional na mostra principal sendo ovacionado no festival com longos e calorosos aplausos.

O documentário Rise, dirigido por Bárbara Wagner e Benjamin Burca, chegou com moral em Berlim esse ano. O curta foi filmado na periferia de Toronto, e mostra a vida de jovens do RISE, um projeto criado pelo poeta Randell Adjei no qual ele incentiva os jovens a contar sua história através da música. “A gente está falando, na verdade, de uma indústria que existe a despeito do nosso circuito artístico. Eles são artistas de um outro circuito, têm uma autonomia, têm um poder. E que poder é esse? A gente está investigando isso”, explica Bárbara Wagner. Esperadíssimo no festival, Rise fez por merecer e saiu com o Prêmio Audi de Curta Metragem.

O prêmio, patrocinado pela Audi AG, é um dos mais cobiçados e importantes do Festival de Curtas, ficando atrás apenas do Urso de Ouro e de Prata. Bárbara e Benjamin saíram com o troféu e um prêmio de € 20.000,00 (vinte mil euros), o equivalente a R$ 84.400,00, o que é uma ajuda e tanto para os cineastas de curta metragem, já que a maioria deles não tem espaço nos cinemas e fica restrito a festivais, ainda mais no Brasil.

Outro filme que fez bonito no festival alemão esse ano foi Espero Tua (Re)volta, de Eliza Capai. O documentário aborda os movimentos estudantis que ganharam força a partir de 2015 quando jovens passaram a ocupar escolas estaduais em todo o Brasil. Para contar essa história, a diretora acompanhando três jovens do movimento e utiliza imagens de arquivo de manifestações desde 2013.

Espero Tua (Re)volta participou da mostra Generation, que dá espaço a filmes com temática juvenil. O filme brasileiro conquistou o público, a crítica e o júri de Berlim e saiu de lá com dois prêmios: o Peace Film Prize, concedido anualmente para obras que trazem uma mensagem de paz e que executa de forma habilidosa o tema proposto, e o prêmio que consiste em € 5.000,00 (cinco mil euros), o equivalente R$ 21.100,00, e um troféu de bronze.

O documentário de Eliza Capai também recebeu o Amnesty International Film Award, concedido pela Anistia Internacional. Esse prêmio, que é dado desde 2005, é oferecido a filmes que falam dos direitos humanos e dá à obra grande visibilidade internacional. Dentre os vencedores deste prêmio temos quatro indicados ao Oscar: o palestino Paradise Now, indicado a estatueta dourada de Melhor Filme Estrangeiro em 2006, e os docs Lixo Extraordinário (2011), The Square (2014) e Fogo no Mar (2017) na categoria Melhor Documentário.

O último nacional premiado em Berlim esse ano foi a ficção argentina/brasileira Breve História do Planeta Verde, de Santiago Loza, que também saiu do Festival de Berlim 2019 duplamente premiado. O filme conta que conta a história de uma mulher trans, que junto com um amigo gay e uma mulher cis, vai ao enterro de sua avó que faleceu e passou seus últimos momentos com um alienígena. O filme que fazia parte da mostra Panorama foi o grande vencedor do Prêmio Teddy.