#antonia buresi

[genevieveetguy]

Wild Diamond (Diamant brut), Agathe Riedinger (2024)

[rookie-critic]

Rookie-Critic's Film Review Weekend Wrap-Up - Week of 3/26-4/2/2023

This was a bit of a short week. I'm really winding down from my big run of pre-Oscars binge-watching, and have been enjoying the last couple weeks of casual theater outings and video games. This was an interesting and eclectic trio of indie films, though.

Rodeo (2022, dir. Lola Quivoron)

This was a character study that showed a lot of promise. A deeply flawed protagonist that you still wanted to succeed. A very interesting niche subculture as the main subject matter of the film in the form of a group of underground motorbike and ATV riders, and a gripping handheld-camera shooting style all showed so much promise for this French drama from last year. However, I was massively disappointed in the film's ending, which seemed to throw away all of it's potential for something wildly and unnecessarily abstract. It felt like we were coming up on a climax that was going to be a great payoff for all of the film's plot threads, only for the film to fizzle out within a matter of five minutes instead. Roll credits, go home, nothing to see here. It's not as egregious as something like Smile, which not only threw away it's character development, but actively shattered a very pro-healing-from-trauma message in the process. This is relatively harmless in comparison, and the rest of the film was quite good up to that point, so I'll just say that I didn't hate it.

Score: 6/10

Currently available for pre-order on Blu-ray & DVD through Music Box Films.

The Lost King (2022, dir. Stephen Frears)

This was a harmlessly good time. Sally Hawkins, as always, is an absolute delight and commands the screen with her every movement. She is convincing and demands that you empathize with her character Philippa Langley. I am aware that this film has a fair bit of controversy wrapped around it in how it handles fact vs. fiction in this true story. The film paints a very villainous picture of the University of Leicester, and there are claims that this portrayal is wildly hyperbolic and inaccurate. Granted, everyone I've seen complaining about the portrayal is either a graduate or an employee of the University of Leicester, but on the flip side Philippa Langley is an executive producer on this film. I'm choosing to believe the way the film portrays things as accurate. It is a little on the nose, and I'm sure they weren't as cartoonishly evil as the film conveys, but I can see academia treating a woman suffering from ME as horrendously as they do in this film, and I can't see a director as seasoned as Stephen Frears (whose directed movies like Philomena and High Fidelity) making a film that's blatantly propaganda. I enjoyed The Lost King, it maybe wasn't the best, but people interested in the history of it will surely find a lot to like here.

Score: 7/10

Currently Only in theaters.

A Good Person (2023, dir. Zach Braff)

This a very mediocre film that is saved by two spectacular performances. I've never seen either of Zach Braff's other films (I consider Garden State to be a pretty big blind spot in my viewing history), but man, just based off of this, I'm not super impressed in his ability as a writer/director. The dialogue in the film is packed with filler and faux-drama, and the whole thing just seemed so unforgivably on the nose that I just couldn't get behind the characters for most of the film. The movie is obsessively concerned with you sympathizing with both of its central characters that at two separate spots in the film they each say the actual line "I'm a good person." It's would be eye-roll inducing if Morgan Freeman and Florence Pugh weren't acting their asses off, and they do act their asses off. It might honestly be the best performance I've seen out of Pugh, and I'm so bummed that she delivers it in a film that is so undeserving of it. I'm being incredibly harsh on this, so I will point out that I didn't hate it, and if the script wasn't sabotaging the film so often, it would be great, even. Braff touches on a lot of important, timely topics here, and occasionally gets you to care about what he's saying. I'll even admit to falling for some of the emotional manipulation and tearing up a couple times. Would I watch it again? Absolutely not, but I'm positive there's an audience for this out there. Maybe you're one of them.

Score: 6/10

Currently only in theaters.

[moviemosaics]

Rodeo

directed by Lola Quivoron, 2022

[subtlesolitude-tailoredtaste]

Rodeo (2023) (Dir. Lola Quivoron - France)

After a chance meeting at an illicit "Rodeo" where riders show off their bikes and stunts, Julia strives to prove herself to a volatile, ultra-masculine clique, performing cons and surviving by her wits.

“Hot-tempered and fiercely independent, Julia (Julie Ledru) is a gearhead who thrives in hostile environments and turns every situation to her advantage. She has a talent for scamming condescending men who think it’s cute that she shows interest in their used motorbikes–and can’t fathom her riding away with gleeful abandon. Her obsession with the high-octane world of urban ‘Rodeos’ - illicit gatherings where riders show off their bikes and latest daring stunts - sparks a chance meeting with a volatile clique. Julia strives to prove herself to the ultra-masculine gang by performing cons and running errands for their incarcerated ring leader, Dom. She finds a surprising connection with Dom’s wife, Ophélie (Antonia Buresi) and son, a risky move that puts a target on her back. Julia is unsure who she can trust as the ultimate heist comes down the pike.”

[ulkaralakbarova]

In 1971, a young woman moves from the French countryside to Paris and begins a passionate love affair with a feminist leader. Credits: TheMovieDb. Film Cast: Delphine: Izïa Higelin Carole: Cécile de France Monique: Noémie Lvovsky Adeline: Laetitia Dosch Antoine: Kévin Azaïs Françoise: Loulou Hanssen Manuel: Benjamin Bellecour Fabienne: Sarah Suco Charlotte: Calypso Valois Marie-Laure: Natalie Beder Professor Chambard: Bruno Podalydès Geneviève: Antonia Buresi Joëlle: Julie Lesgages Film Crew: Casting: Brigitte Moidon Director of Photography: Jeanne Lapoirie Casting: Aurélie Guichard Production Design: Anna Falguères Director: Catherine Corsini Costume Design: Jürgen Doering Editor: Frédéric Baillehaiche Screenplay: Laurette Polmanss Producer: Elisabeth Perez Stunts: Virginie Arnaud Script Supervisor: Bénédicte Darblay Movie Reviews:

[lemagcinema]

#Cannes2024 - Diamant (qui reste) brut

Un film d’Agathe RiedingerAvec: Malou Khebizi, Idir Azougli, Andréa Bescond, Ashley Romano, Alexis Manenti, Kilia Fernane, Léa Gorla, Alexandra Noisier, Antonia Buresi, Francesca GiromellaLiane, 19 ans, téméraire et incandescente, vit avec sa mère et sa petite sœur sous le soleil poussiéreux de Fréjus. … Notre avis: **

Retrouvez l'article complet ici https://lemagcinema.fr/microcritique/cannes2024-diamant-qui-reste-brut/

[mymoviemania-75th-cannes]

Un Certain Regard:

Un Certain Regard Jury's "Coup de Coeur", 2022 -

Rodeo (2022), directed by Lola Quivoron.

Julie Ledru as Julia; Mohamed Bettahar as Amine; Louis Sotton as Ben; Dave Nsaman Okebwan as Abra; Ahmed Hamdi as Mous; Junior Correia as Manel; Antonia Buresi as Ophélie; Yanis Lafki as Kaïs.

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[ladyonfire28]

Here is the official poster of Les héros ne meurent jamais (Heroes Don’t Die), that comes out on September 30 in France !

[empressofkalumina]

LES HÉROS NE MEURENT JAMAIS (Heroes Don’t Die) x

[gregor-samsung]

C'est ça l'amour [Real Love] (Claire Burger - 2018)

[thexfridax]

© Les Films du Worso

[genevieveetguy]

In His Image (À son image), Thierry de Peretti (2024)

[script-supervisor]

Antonia Buresi in Planetarium, dir. Rebecca Zlotowski, 2016.

[ana-borralho-joao-galante-blog]

ARTISTS SCREAMS, 2010 Radio-art sound piece. 4'06'' by Ana Borralho & João Galante

A edited sound sequence of screams. Borralho & Galante asked a scream to each artist who participated. Artists by listening order: Tiago Rodrigues, Alberto Lopes, Ana André, André Uerba, Andrew Poppy, Andrew Poppy & Julia Bardsley, Antonia Buresi, Atsushi Nishijima, Susana Chiocca, Claúdio da Silva, Dexter, Fernando Fadigas, Fernando Ribeiro, GhunaX, Gustavo Ciríaco, Helena Inverno, Idoia Zabaleta, Joana Vasconcelos, João Garcia Miguel, João Marçal, John Romão, JP Simões, Julia Bardsley, Julião Sarmento, Luciana Fina, Luís Castro, Luisa Cunha, Margarida Mestre, Miguel Moreira, Noé Sendas, Pedro Tudela, Rui Reininho, Susana Mendes Silva, Vasco Célio, Vasco Vidigal, Vera Mantero, Vera Mota, Verónica Castro, Vítor Rua, Volante, Yingmei Duan, Frederica Bastide Duarte

[phoene-somsavath]

I made the trailer music for ‘Les Héros Ne Meurent Jamais’, directed by Aude Léa Rapin, starring Adèle Haenel, Jonathan Couzinié and Antonia Buresi

Watch the trailer here : https://www.youtube.com/watch?v=LW0EsVWuIF4

[automaticvr]

FAMILY ROMANCE OR THE AUGMENTED REALITY, Ana Borralho & João Galante, 2019 Ana Borralho & João Galante are fascinated by the new communication technologies, not so much because of the increasingly impressive capacities that these have, or because of the attraction that each new gadget creates, but because of the way in which these technologies are transforming age-old social models and relations at an alarming rate. Whereas, until the twentieth century, audio-visual devices were designed for mass consumption, in the new millennium the focus is now placed on each citizen and their idiosyncrasies. The mass use of individualised digital equipment in every area is creating ways of life in which the notion of the social body has imploded and almost disappeared. Family Romance or The augmented reality looks at these symptoms through the use of recent technological devices. What are the psychic effects of extreme individualisation? Is the real world at risk of becoming lost in the virtual world? Together with a group of the local community members, Ana Borralho & João Galante invite us to explore a future that has already begun. Conceito, Direcção Artística e Espaço / Concept, Artistic and Space Direction: Ana Borralho & João Galante Co-criação, Actores / Co-creation, Actors: Ana Freitas, Cláudio da Silva Co-criação, Assistência de Ensaio e Performer / Co-creation, Rehearsal Assistance & Performer: Alface (Cátia Leitão), Catarina Gonçalves Co-criação, Assistência Técnica e Performer / Co-creation, Technical Assistance & Performer: Tiago Gandra Assistência de Ensaio e Performer / Rehearsal Assistance & Performer: Daniel Matos Performers: 10 participantes da comunidade local / 10 participants from the local community - Alexandre Crespo, André de Campos, Barbara Bruno, Beatriz Garrucho, Eva Fornelos, João Meirinhos, Luara Learth, Maria Lalande, Mariana Santos e Ricardo Vaz Trindade Dramaturgia, Colaboração Artística / Dramaturgy, Artistic Collaboration: Fernando J. Ribeiro Assistência de Encenação / Direction Assistance: Antonia Buresi Desenho de Luz / Light Design: Eduardo Abdala Banda Sonora Original / Original Soundtrack: Coolgate Desenvolvimento de Multimédia / Multimedia Development: ArticaCC Direcção Executiva e Administração / Executive and Admin. Direction: Mónica Samões Direcção de Produção e Difusão / Production and Touring Direction: Andrea Sozzi Produção Executiva / Executive Production: Joana Duarte Uma produção / Production: casaBranca Co-produção / Co-Production: Fundação Caixa Geral de Depósitos - Culturgest, Le phénix pôle européen de création décentralisé au théâtre de Denain dans le cadre du Campus Amiens-Valenciennes avec le soutien du programme Culture pour tous du Ministère de la Culture et de la Communication Apoio / Support: Espaço Alkantara, Pólo Cultural Gaivotas, O Rumo do Fumo, Arisco - Instituição para a Promoção Social e da Saúde, Forall Phones, Pro.Dança-Escola de Dança e Produção de Espectáculos