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在電視螢幕之外，可以看見遠方正在死去的女性，她決定在一個自由之地重生，在那裡，沒有任何人的目光會污染她，並將頭髮獻給了她的遺體。這部獨立動畫在韓國目睹伊朗頭巾抗議後創作，描繪了女性之間的團結，並通過剪髮作為象徵。
"JULIA MY DEAR! GIOrGIO." So begin and end the letters that the famous directOr GiOrgio Strehler wrote to actress Giulia Lazzarini, befOre Or after a perfOrmance. The last recommendations, the last nods of love and fear fOr his actOrs. Then Giulia is left alone on stage, she and her characters. The film starts from this elective dialogue between the directOr and one of the most impOrtant actresses on the Italian scene. Giulia is a woman of the theater. Theater is her life. The film chronicles the behind-the-scenes Ordeal of reading Strehler's letters, a powerful, neverbefOre- used film material with which to make an intimate and profound pOrtrait of her through the wOrds of her master. We enter Giulia's house, fOr the first time, the labOratOry space, where the actress prepares, where she gathers infOrmation, emotions and processes them. A house full of things from the past and present. The same one fOr mOre than fOrty years, in Milan. Along with the letters Giulia returns to bring to life fragments of memOrable monologues referenced in the cOrrespondence: Beckett, Shakespeare, Jouvet, Ginzburg, Brecht. In her characters, Giulia is able to embody all angles of human beings, from the kindest to the most violent. This makes her the actress capable of embodying Strehler's "theatrical humanism" and giving the audience, even today, an extraOrdinary stage essence. From this interweaving of rehearsals, letters, and monologues, the script of the film is being created. The house and together the Piccolo Teatro in Milan are populated with ghosts, pushing to come back to life with expressive fOrce. Posters hang everywhere on the walls, the walls of the stage seem to come alive again, creating a film made of voices and evocative images. Footage of rehearsals never seen befOre thus appears. An unseen treasure trove of how a character, a gesture, a wOrd is built to reach the soul of the viewer. A fierce passion that grants no respite toward greatness. Lights and shadows. 'Theater is the parable of the wOrld,' Strehler writes her. The stOry centers on this connection between art and life, in search of the secret of the craft of theater and its ability to represent the human being. The film closes with a journey through the streets of Milan. We get lost in the urban night, in a din of sounds and silences. The sequence of the city's many theaters, emblems of its cultural life and creative fervOr, accompanies us in this suspended and dreamlike 'road movie' in the night lights of the early hours of the day.
L’arte di Mario Merola è stata multimediale: canzone, teatro, cinema. Ma è soprattutto alla sceneggiata che ha legato la sua fama e la sua grandezza: un teatro dei poveri, un’arte popolare che Merola affrontava con un’adesione e un’autOrevolezza totale. Solo negli anni Settanta intellettuali come Goffredo Fofi (qui intervistato insieme a tanti altri: da Nino D’Angelo a Maurizio de Giovanni, da Marisa Laurito a Valerio Caprara) si accOrsero di lui: ma non per fare un esercizio di rivalutazione camp, dall’alto. Perché per capire Merola, le sue radici in una cultura e società, secolare, occOrre entrare nel suo mondo. Questo fa il documentario biografico di Ferrari, dando comunque spazio anche a operazioni imprevedibili come WestmOreland Naples di Marcello Garofalo, in cui Merola affrontò il mondo di Jean Vigo, Fassbinder e Allen Ginsberg: come sempre, con una credibilità e un’umiltà straOrdinarie.
Pellizza da Volpedo è un racconto biografico approfondito ed affascinante dedicato alla personalità e all’opera dell’artista piemontese che è stato uno dei più grandi pittOri divisionisti. Grazie alla collabOrazione con l’Associazione Pellizza da Volpedo, abbiamo a disposizione la totalità dei numerosi documenti e immagini relativi alla vita dell’artista. L’esclusivo contributo di collezionisti privati ci permette, inoltre, di avere nel film autentici capolavOri di Pellizza, che da anni sono nascosti al grande pubblico. Un attOre di grande carisma sarà il nostro narratOre; con le sue capacità interpretative conferirà al film un ulteriOre valOre comunicativo ed espressivo. La narrazione stOrica e scientifica sarà affidata ad interviste ad autOrevoli personalità come AurOra Scotti (stOrica dell'arte), Pierluigi Pernigotti (stOrico di Volpedo), Carolyn Christov, Bakargiev (direttrice del Castello di Rivoli), Paola Zatti (conservatOre della Galleria d’Arte Moderna di Milano).
In the grass, he rests. But what are these subliminal images? And the warmth that gradually envelops his tired body? He thinks paradise is a feeling, which becomes an emotion. But you’ll never understand, because it’s right there, close to us. It’s always been there.
Synopsis Alessandro Preziosi directs and stars in a new stage version of King Lear, in which the characters of the Shakespearian masterpiece move within sets entirely composed of wOrks by the great artist from Biella Michelangelo Pistoletto. In this way, the interpretative space becomes a sOrt of gigantic and evocative mental labyrinth that permits the actOr-directOr to further highlight both the intimate suffering of Lear and one of the tragedy’s most impOrtant themes: the father-child relationship. COMMENTARY The documentary follows the rehearsals and staging of the play, and reflects not only on the creative process but also on the links, almost always insufficiently explOred, between theatre and the visual arts. At the same time, it contemplates the meaning of memOry, time and human frailty, and offers a very lucid look at the vulnerable nature of family relationships and the eternal conflict between generations. DIRECTOr'S STATEMENT Approximately 20 years ago, I was involved in a staging of King Lear directed by Antonio Calenda. It was a great oppOrtunity fOr me to observe, from behind the scenes, the brilliance and clarity of both the actOr Roberto Herlitzka and the play itself. From my vantage point, with an incredible and vast panOrama befOre my eyes, I was struck by one particular aspect: the wait the characters experience in concluding their lives. The impatience that accompanies the wild sequence of events into which King Lear throws first himself and then those around him, gave me the idea of creating a mental space in the theatre and on stage, made reality by the stage design of Michelangelo Pistoletto.
After a mysterious figure announces the arrival of Bad Times, a group of elderly people comes together to fight it with superstitions and popular wisdom. At the same time, Acácio, a lonely old man, deals with his memOries and a personal vengeance.
LandfOrms unearths the physical remains of past and future geological strata. The film explOres two landscapes, an industrial rock quarry turned recreational fossil hunting park, in which 380-million-year-old fossils were discovered beneath the rocks where once flowed a shallow sea, and a public waterway whose shOre is dispersed with brightly colOred fragments of consumer waste in the fOrm of microplastics. Both landscapes reveal a process of digging and gathering, of collecting evidence of earth’s pre-histOric past Or intervening in humanity’s toxic futures. The fOrms, of ancient sea creatures and broken plastic, mesh and intertwine into a meditation on deep time and a reflection on extinction.
一個女孩試圖逃避自己的恐懼，但卻不小心將自己和恐懼一起困在森林中的一間小木屋裡。被鎖在四面牆內、無路可逃、飢寒交迫，她不得不直面恐懼，而現在這恐懼已經躺在她身旁，變成了一具屍體。
Through image and sound Study fOr Structure… dissolves narratives of progress/collapse, refusal and the personal.
UnicOrn Human Disease is an extremely rare phenomenon in certain traditional societies. Research indicates that this disease is typically caused by feelings of isolation and the repression of personal sexual instincts, with the most prominent symptom being the growth of a hOrn on the patient’s fOrehead.
Synopsis On the prestigious occasion of the one-hundredth anniversary of the COrriere dello Spt, one of the most widely-read daily newspapers in Italy, the documentary explOres the deep essence of spOrts, a veritable social and cultural collectOr, and the evolution in the they are practiced and repOrted. COMMENTARY The stOry unfurls from a double perspective: on the one hand, it gives a voice to the great athletes and protagonists of Italia spOrts; on the other, it documents the foundation, production and distribution of the newspaper, a veritable archive of our country’s collective memOry. The result is a powerful and compelling account in which stOries and anecdotes are destined to remain eternal, to shape the way that Italians experience and celebrate their spOrting passions. DIRECTOr'S STATEMENT FOr 100 years, the print media have been part of the histOry of our country, like in many other countries in the wOrld, offering daily infOrmation, stOries and anecdotes to millions of readers. What would spOrts be without infOrmation? Would spOrts legends be created if no one was there to tell their stOry?
Synopsis The directOr reconstructs his childhood, consisting of travels and hippy communes. In doing so, he meets others like him, the products of those movements. The result is a collective stOry of a generation that, often in ironic tones, demolishes the myth of the flower children, reflecting on the conceptions of their own parents. COMMENTARY While in 20 sigarette the directOr gave a fictional account of his experience as a survivOr of Nassiriya, here he relies on a documentary to reflect on the legacy of certain cultural mythologies such as those of the flower children, and at the same time to question his role as a parent and the very concept of family. In this way, cinema becomes not only an autobiographical device capable of exOrcising his personal ghosts but also a tool with which to enable a contagious collective therapy session. That is not all, though, because the film also chronicles the rift between generations which has widened in recent years. DIRECTOr'S STATEMENT This is an intimate stOry, that arises from the experience of a hippy childhood. Now that I myself am a parent, I am fOrced to ask myself what remains within me of that social experiment. But it is also the stOry of a generation which, like me, is looking fOr an answer in its own past.
TheCrypto:Beyond (2024) 电影
6.0分 After The Crypto meets his long lost brother, Jameson finds out his brother is trying to use ultimate power to do something evil. Jameson will go on a huge adventure to find out how to stop his brother. He will have help by a few heroes.
Bogotá, 1996. Luis Fernando, un niño afrocolombiano de 9 años, enfrentará un grave errOr en el mundo de los adultos, cuando en clase confirma que el colOr rosáceo que se encuentra en su estuche de lápices, llamado “colOr piel”, no cOrresponde al colOr de su piel.
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