#agnese nano

[filmy420]

[tinyreviews]

The feels would have hit harder if Alfredo knew Elena had hidden the note and personally intervened to intercept the note, only to give it back to Toto, with his apologies, should Toto ever return.

Cinema Paradiso (Italian: Nuovo Cinema Paradiso) is a 1988 coming-of-age drama film written and directed by Giuseppe Tornatore. This Italian-French co-production stars Philippe Noiret, Jacques Perrin, Leopoldo Trieste, Marco Leonardi, Agnese Nano and Salvatore Cascio.

[byneddiedingo]

Philippe Noiret and Salvatore Cascio in Cinema Paradiso (Giuseppe Tornatore, 1988)

Cast: Philippe Noiret, Salvatore Cascio, Marco Leonardi, Jacques Perrin, Agnese Nano, Antonella Atti, Enzo Cannavale, Isa Danieli, Leopoldo Trieste, Roberta Lena, Nino Terzo, Leo Gullotta, Tano Cimarosa, Nicola Di Pinto. Screenplay: Giuseppe Tornatore, Vanna Paoli. Cinematography: Blasco Giurato. Production design: Andrea Crisanti. Film editing: Mario Morra. Music: Ennio Morricone.

Will today's kids feel sentimental about the multiplexes in which they see movies, the way I feel about the small-town theaters where I grew up, the places where I learned to love movies? I have my own lost cinema paradises, so I should be the right audience for Cinema Paradiso, with its tribute to a bygone era of moviegoing. Tornatore's movie has some good things going on, including the performance of Philippe Noiret as Alfredo, and the wonderful rapport between Noiret and young Salvatore Cascio as Toto. Leopoldo Trieste's performance as the censorious Father Adelfio is also a delight, and ending the film with Alfredo's assemblage of the kissing scenes the priest made him excise is a masterly bit. But once Toto grows up to be the lovestruck teenager Salvatore (Marco Leonardi), I begin to lose interest, as Tornatore's screenplay lards on more and more sentimentality. I've seen the 155-minute version twice now, though I have yet to see the 173-minute "director's cut" of the film, in which, I am told, the grownup Salvatore (Jacques Perrin) is reunited with his teen love Elena (Agnese Nano), now grown up and played by Brigitte Fossey. Frankly, I don't much want to: The 155-minute version seems overlong as it is. Cinema Paradiso is beloved by many, and often makes lists of people's favorite foreign-language films, but I find it thin and conventional.

[agendaculturaldelima]

    #ProyeccionDeVida

🎥 Cine Superba, presenta:

🎬 “CINEMA PARADISO” [Nuovo Cinema Paradiso]

🔎 Género: Drama / Comedia / Cine dentro del Cine / Amistad / Película de Culto

⏰ Duración: 155 minutos

✍️ Guión: Giuseppe Tornatore

🎼 Música: Ennio Morricone

📷 Fotografía: Blasco Giurato

🗯 Argumento: Historia de amor por el cine de Salvatore, un niño de un pueblecito italiano en el que el único pasatiempo es ir al cine. Subyugado por las imágenes en movimiento, el chico cree ciegamente que el cine es magia; pero, un día, Alfredo, el operador, accede a enseñarle al pequeño los misterios y secretos que se ocultan detrás de una película. Salvatore va creciendo y llega el momento en el que debe abandonar el pueblo y buscarse la vida. Treinta años después recibe un mensaje, en el que le comunican que debe volver a casa.

👥 Reparto: Salvatore Cascio (Salvatore Di Vita), Philippe Noiret (Alfredo), Marco Leonardi (Salvatore Di Vita), Jacques Perrin (Salvatore Di Vita), Agnese Nano (Elena Mendola), Antonella Attili (Maria), Isa Danieli (Anna), Leopoldo Trieste (Padre Adelfio) y Enzo Cannavale (Spaccafico)

📢 Dirección: Giuseppe Tornatore

© Productoras:Les Films Ariane, Cristaldifilm, TF1 Films Production, RAI 3 & Forum Picture

🌏 Países: Italia-Francia

📅 Año: 1988

📽 Proyección:

📆 Jueves 03 de Octubre

🕗 8:00pm.

🏡 Superba (av. Petit Thouars 2884 - San Isidro)

🚶‍♀️🚶‍♂️ Ingreso libre

🥘Consumo Mínimo🍺🍨🍮🍰

[blog-oscar-iglesias-casado-23675]

Cine “Cinema Paradiso”

Título original: Nuovo Cinema Paradiso Año: 1988 Duración: 155 minutos País: Italia Dirección: Giuseppe Tornatore Guion: Giuseppe Tornatore Música: Ennio Morricone y Andrea Morricone Fotografía: Blasco Giurato Montaje: Mario Morra Vestuario: Beatrice Bulgari Protagonistas: Philippe Noiret, Salvatore Cascio, Marco Leonardi, Antonella Attili, Jacques Perrin, Agnese Nano y Brigitte…

[thecoffeeloverbutterfly90]

Agnese Nano & Nicola Farron in L'edera (1991/92). ❤️ [which series theme song was "I ricordi del cuore" by Amedeo Minghi.]❤️

[ulrichgebert]

Nuovo Cinema Paradiso ist einer von diesen Filmen, gegen die ich manchmal etwas misstrauisch bin, weil alle sagen, er sei “soo schön”. Aber in Verlegenheit mit dem versprochenen Gedenkfilm für Jacques Perrin, dachte ich, ich probiere es jetzt mal aus. Fazit: Das Misstrauen ist natürlich total berechtigt und es ist soo schön. Besonders das Ende.

(x)

[tcmparty]

@tcmparty live tweet schedule for the week beginning Monday, September 06, 2021. Look for us on Twitter…watch and tweet along…remember to add #TCMParty to your tweets so everyone can find them :) All times are Eastern.

Monday, Sept. 06 at 8:00 p.m. CINEMA PARADISO (1989) A boy coming of age in WWII Italy develops a lifelong love affair with movies.

Friday, Sept. 10 at 6:00 p.m. BEYOND THE POSEIDON ADVENTURE (1979) Rival salvage parties enter an upside down ocean liner in search of treasure.

[myfilmsbox]

Cinema Paradiso (1988) dir.  Giuseppe Tornatore

[scenesandscreens]

Cinema Paradiso (1988) Director - Giuseppe Tornatore, Cinematography - Blasco Giurato "Living here day by day, you think it's the center of the world. You believe nothing will ever change. Then you leave: a year, two years. When you come back, everything's changed. The thread's broken. What you came to find isn't there. What was yours is gone. You have to go away for a long time... many years... before you can come back and find your people. The land where you were born. But now, no. It's not possible. Right now you're blinder than I am."

[filmy420]

[roughspace]

[sigurism]

[jonjost]

In 2006, being in Italy, a friend – Eliana Miglio – who had worked with me on my Italian film Uno a me, uno a te, & uno a Rafaella, asked me to think about making a film with her.  I said OK, and in quick order we rounded up some other friends, a place to shoot, and I got a vague idea, and off we went to Capalbio, north of Roma, a hang-out place for sort of left-intelligentsia, and in 5 days we shot most of a totally improvised film.  Shooting started the minute we arrived, and wrapped up the next week with a few sequences done in Rome.  I edited as we shot, so we’d see a scene or two each evening on the computer, and roll on.  It was an enjoyable process, though the content of what we were dealing with was serious and heavy.  As they provided for my meals, the cost for me was around $50.  Of course no one was paid.  For more on the process of its making, see this.

La Lunga Ombra

2006 | miniDV | Color | Sound | 77 minutes

Concept, direction, camera, edit, graphics, sound : Jon Jost

Music: Erling Wold

With: Eliana Miglio, Agnese Nano, Simonetta Gianfelici, Edoardo Albinati, Marco Delogu

Premiered at the Rotterdam Film Festival, Jan 2006

Shown at: Jeonju (digital competition), Buenos Aires Independent, Warsaw, Frankfurt, Paris/Berlin

  Placed in a small seaside area north of Rome, of late popular with left leaning artists and intelligentsia, La Lunga Ombra provides a portrait of 3 professional women under the hidden duress of post 9-11 Italy, and more broadly, Europe. They have gone together because one has been left by her husband and the other two seek to comfort her. Instead, however, the other two women are drawn into a vortex of sadness, perhaps provoked by their friend’s domestic tragedy, but as the film implies, perhaps more by the undertow of the larger effects of 9-11 as it impacts Europe.

An opening sequence at a photographer’s studio where a woman, having some kind of publicity shot taken by a well-known Roman photographer, receives a telephone call apparently of a serious nature.

A trio of women arrives by the sea on a darkening evening, entering a small house. The abandoned woman,Anna (played by Agnese Nano) takes a walk. Her friends, Constanza (Eliana Miglio) and Giulia (Gianfelici) confer with one another about Anna’s state, which draws them into their own feelings and conflicts. In the morning there are ominous signs. Constanza, and then Giulia try to force Anna to talk about her feelings and she refuses. They go to the beach. Giulia, a journalist of some kind is called to Rome and leaves on a train. She interviews a writer (Albinati) who has been in Afghanistan The other two visit Capalbio and have a lunch together in which their conflicts in views open up while at the same time they seem to fuse together. They return to the house where Constanza tells a long story drawn from a book she is writing. The story angers Anna who abruptly leaves.

Another day, Anna and Constanza go to a rain swept beach, and briefly argue.

Giulia speaks directly to the camera of her anxiety and fear, her sense of the meaninglessness of her life; then Anna and Constanza, facing the camera together, speak venomously of one another.

In a long near silent sequence the three sit in the house, seized with sorrow. Giulia speaks of her lover or husband who is in Iraq as a reporter.

Giulia in an editing studio receives a telephone call. Obliquely it is understood her husband has been kidnapped.

The film concludes with an al Qaeda tape of a man being beheaded.

  Posted by acquarello on Jan 30, 2007

On the surface, Jon Jost’s austere, somber, and uncompromisingly caustic improvisational rumination on the pall cast by the aftermath of 9/11 on the European consciousness, La Lunga Ombra seems an uncharacteristic departure from the intractable consciousness of middle America that pervade his early films – a post tragedy portrait that converges more towards claustrophobic, Bergmanesque angst rather than the transformative, post-apocalyptic, loss of innocence grief that its conceptual framework would seem to suggest. Loosely structured around the lives and mundane gestures of a trio of close knit friends – a literary figure (Eliana Miglio) (whose agency appears to be in the process of publishing a photo-essay journal on the faces of colonial-era terrorism) and a television producer (Simonetta Gianfelici) who retreat to a remote, off-season seaside cabin in order to tend to a mutual friend, Anna’s (Agnese Nano) emotional crisis and ensuing depression after being unexpectedly abandoned by her cruel (and perhaps abusive) husband – the film is also a provocative, broader exposition on the intangible, often corrosive collateral damage of psychological warfare and demoralization.

Intercutting the quotidian rituals of women in the stasis of their isolation (as they alternately attempt to console Anna by lending a sympathetic ear as she struggles to articulate her sense of loss, distracting her thoughts with idle conversation and whimsical parlor games, and encouraging her to reclaim her identity by returning to youthful pursuits) with textural and increasingly abstract archival footage from acts of terrorism, Jost reinforces an atmosphere of disjunction between characters and context that, in retrospect, perhaps reveals the underlying separation between action and consequence that pervades the film. A videotaped interview with a businessman recounting his experience while working in postwar Afghanistan alludes to this bifurcation when he describes his observation of the absence of everyday interaction between men and women in contemporary, post-Taliban Afghan society, a culturally enabled separation that leads to a certain level displaced intimacy not usually found in patriarchal cultures.

Conversely, the friends’ hermetic retreat also becomes a form of artificial segregation – this time, from the community of men – where their interaction is relegated to the margins (represented only as distant photographs hanging from walls or leafed through in books (uncoincidentally, as symbols of warfare or violence), or existing in the periphery as fire wood vendors, technicians, or photographers). However, inasmuch as instinctual regression serves as a defense mechanism against inflicted wounds, it also exposes the myopia of victimization. In a sense, this defensive retreat towards isolation – and in particular, a self-imposed isolation in order to reinforce a sense of solidarity and foster moral support – not only illustrates the core of human nature’s response to trauma, but also introduces the idea of the women’s private turmoil as a microcosm of post 9/11 consciousness where grief, loss, fear, and confusion have invariably given way, not only to isolationism, self-righteousness, and intransigence, but more importantly, to a self-perpetuating moral contamination and spiritual inertia that continues to fester long after the crisis has subsided. Moreover, by incorporating granular and pixellated images from the World Trade Center attack that appear increasingly impressionistic and decontextualized (paradoxically creating an inverse proportionality between the distance to the image and its resolution), the juxtaposition becomes a potent metaphor for the abstraction inherent in the psychology of terrorism, where effectiveness is measured, not in conveying graphic realism or maximized casualty, but in the manipulation of public sentiment through the global domination of media images. It is this quest for sensationalism and media occupation that is ultimately encapsulated by the controversial inclusion of a gruesome and desensitizing ritual execution footage taken in postwar Iraq that concludes the film – a grim and sobering reminder of society’s own implication in the creation of the spectacle, in the systematic corruption of its own soul.

By Kevin Thomas, Special to The LA Times April 13, 2007

In 1992, Jost took off on a 10-year sojourn in Europe, and much of his work made there has yet to surface in the U.S. He returned to Europe last year, where in Italy he shot La Lunga Ombra (The Long Shadow), which the UCLA Film and Television Archive will present Sunday at its Billy Wilder Theater in the Hammer Museum in Westwood. His years in Europe have enriched him as an artist, and with this film he, in turn, has challenged his audience stylistically as never before — at least not since his experimental filmmaking early in his career.

La Lunga Ombra is a beautiful, elliptical meditation on the aftermath of 9/11 in Europe, in particular its effect on three Italian women deeply touched on a personal level by the chaos in Iraq and Afghanistan.

When the husband of Anna (Agnese Nano) leaves her at the beginning of “La Lunga Ombra,” her friends writer Costanza (Eliana Miglio) and TV journalist Giulia (Simonetta Gianfelici) take her to a seaside villa. In her despair, however, Anna is inconsolable, which causes her friends to consider their own lives and the increasingly unstable world in which they live. Their conversations, reveries and individual experiences are punctuated by grainy, distorted images of the destruction of the Twin Towers. Jost’s command of images and pace is so strong that these allusions are remarkably subtle, suggesting how they seep into the collective subconscious.

    https://vimeo.com/ondemand/125083

The Long Shadow In 2006, being in Italy, a friend - Eliana Miglio - who had worked with me on my Italian film…

[cuulest]

Movie Review: Cinema Paradiso (1988)

"A Timeless Film for People Who Love Cinema"

⭐️⭐️⭐️⭐️ 4/5

Cinema Paradiso

1988

Director: Giuseppe Tornatore

Writers: Giuseppe Tornatore, Vanna Paoli, Richard Epcar

Starring: Philippe Noiret, Jacques Perrin, Marco Leonardi, Salvatore Cascio, Agnese Nano, Antonella Attili, Enzo Cannavale, Isa Danieli, Leo Gullotta, Pupella Maggio

Genre: Drama, Romance

Country: Italy, France

Giuseppe Tornatore’s ‘Cinema Paradiso’ is exceptionally heartfelt and truly depicts the wonders of movies. It follows the coming-of-age story of Salvatore “Toto”, a local boy from Giancaldo, Sicily, Italy and how he developed his love for films at a young age under the influence of Alfredo, a projectionist at Cinema Paradiso. Later on, Toto learned the process of creating that work of art which is called ‘film-making’, cultivated his passion and became successful in his profession as a film director.

Cinema Paradiso is a story of love, friendship, family and one’s pursuit of one’s dreams. The growing platonic relationship between a mentor and a mentee, a local boy and his love for his natal home and the budding interest that eventually grew as a love for films. The characters were exquisitely portrayed by the actors as if it were all natural—from the young and heedless Toto to the charming adolescent Salvatore and eventually the big-shot director that he became, Toto’s mother, Alfredo, and other characters; their acting was truly rich.

This movie made me feel a lot of emotions and I even found myself shedding a tear or two. Some scenes were sentimental such as when Salvatore came back to Giancaldo as an adult to attend Alfredo’s funeral. There was a feeling of nostalgia—for childhood, for youth, feelings, moments, people and places that are now just mere memories. It made me realize how one’s decisions and choices can make a great impact in our life and can alter our path anytime. So whatever we decide to pursue later on in life, we should make sure that we love it and we enjoy doing it. Sometimes, when we are in the path of chasing our dreams, we tend to sacrifice some things and lose some people along the way. That’s okay, it’s all part of life. We should accept the fact that people come and go and despite that, life should continue to go on because it does not stop for anyone. It is amazing how works of art such as films can make us feel a surge of emotions. Personally, something I am thankful to have experienced the magic of cinema in my life. All in all, this is a beautiful movie. A must watch especially for movie connoisseurs, filmmakers, film enthusiast, film-buffs and lovers of the arts.

[milliondollarbaby87]

Cinema Paradiso (1988) Review

Cinema Paradiso (1988) Review

Salvatore Di Vita a filmmaker recalls his childhood and teenage years where he fell in love with movies at the cinema in his small village along with the amazing friendship he shared with Alfredo the projectionist at the cinema.

⭐️⭐️⭐️⭐️⭐️

*Original Title – Nuovo Cinema Paradiso*

(more…)