Movie Mos

If you have ever seen films of this italian man, such warm and nostalgic, for instance Cinema Paradise or Baarìa, then, I’m sure you loved it, you will never forget it and you try to find out and watch others Giuseppe Tornatore’s films, one of the greatest modern film directors.

Giuseppe Tornatore was born in 1956 in Bagheria near Palermo, Sicily. At an early age, he took up photography and won many prizes in national competitions. He made his directorial debut at sixteen, with the short film “Il Carretto,” which brought him to the attention of RAI television, with which he began a close collaberation in 1979. Several TV films followed in rapid succession: “Portrait of a Thief,” “Meeting with Francesco Rosi,” “Sicilian Writers and Films: Giovanni Verga, Luigi Pirandello, Vitaliano Brancati and Leonardo Sciascia” and “Il Diario di Guttuso.” In 1982, he won a prize for Best Documentary at the Salerno Film Festival for “Ethnic Minorities in Sicily.”

From 1978 to 1985, he was the president of the CLTC filmmaking cooperative. On the CLTC-produced “A Hundred Days in Palermo,” starring Lino Ventura, Tornatore served as co-scriptwriter and second unit director.

He made his feature film debut in 1986 with “Il Camorrista” (“The Professor”), adapted from Giuseppe Marazzo’s novel and starring Ben Gazzarra and Laura del Sol. His next film, “Cinema Paradiso,” starring Philippe Noiret, shot on location in his hometown of Bagheria, Sicily, brought him international fame.

Giuseppe Tornatore’s third feature, “Everybody’s Fine” (“Stanno Tutti Bene”) stars Marcello Mastroianni as an elderly Sicilian patriarch who travels throughout Italy on a private mission to bring his five grown children together around one table. It was successfully released in the U.S. in 1991. Since then, he contributed a segment, “The Blue Dog,” starring Philippe Noiret, to the the 1991 omnibus film “Especially on Sunday,” which also included films by Giuseppe Bertolucci and Marco Tullio Giordana.

“His films touch the soul of Sicily, transcending the ordinary, the conventional, the stereotypical. Giuseppe Tornatore was born and raised in Bagheria (outside Palermo). He started working very young as a photographer, publishing in various photographic magazines. At the age of sixteen he staged two plays by Pirandello and De Filippo. For the cinema he has made various documentaries, including Il Carretto, highly acclaimed at several regional and national film festivals in Italy.

In 1979 be began a long collaboration with RAI (Italy’s national television network), for which he directed several programs. From 1978 to 1985, he was chairman of the CLCT Cooperative, which produced Giuseppe Ferrara’s film 100 Days in Palermo, with Lino Ventura. Tornatore also co-wrote the screenplay and directed the second unit. In 1986 he made his debut in feature films with Il Cammorrista (“The Gangster”), starring Ben Gazzara. Freely adapted from the book by Giuseppe Marrazzo, this singular motion picture won Tornatore a Golden Globe for best new director.” wrote Michele Parisi in Bestofsicily.com

As to “Avatar”, it’s no so easy to express my feelings as I thought before. It is, no doubt, an amazing spectacle – though I was expecting something like this, but got more than expected. It’s important that this is not clear computer animation, which has no relation to the true cinematography, like “2012″ is, with its various unrealistic effects and great number well-known imprints. Frankly saying, Avatar is also can be reproached with over-use of all existing stamps – but at the same time it has a very fascinating and absolutely unpredictable scenario then this fact rises the movie to another level. On the other hand, I guess that two and a half hundreds millions of dollars is price good enough for the scenario that must be.

It seems that director of Avatar, James Cameron behaves like a boy, carrying to the movie screen all his dreams and fantasies over though it were high technologies or erotic dreams (despite the inhabitants of the planet Pandora are totally deprived of primary sexual characteristics, however their shapes, movements and facial expressions came exactly from wet teen dreams. The fact is Cameron invented an unreal steep tale and embodied it on the movie screen then he is praiseworthy for that, but

But the point is there is a big lie in Avatar. This movie as a product of the era of high technology is likely protects the mother-nature from these technologies, and ultimate leftist manifesto about self-determination of developing countries is advertised by McDonald. That confused me. It’s not funny at all it is rather ridiculous, rude and finally disgusting. And, besides, most part of the audience, reared with much care exactly by products produced by such corporations, look this movie as a high-tech show – just belching with Coca-Cola, throwing over with popcorn and unstopping laughing all the time. After all “Avatar” is just a high-tech show independently what kind of massage Cameron wanted to put in.

One of the best films I’ve watched this year are ‘Reconstruction’ and ‘Allegro’ by Christoffer Boe. “It is a film, it is all a construction. But even so, it hurts.” “It is very important that you understand the movie is actually playful. It likes being a movie, it’s playing with how you can tell a story, and it doesn’t really take itself too seriously.”
The movie about how people do not take seriously the things that may happen every day. Perhaps it’s nor right, perhaps it’s so. The film looks like reconstruction a dream – you sleep and you don’t. You make a choice and you cant do that.

Love is like a dream but it’s not in our power to change the way it goes. After graduating from the Danish Film School in 2001, Christoffer Boe’s student film Anxiety played at the 2002 festival, where it won a prize from French critics, and then Boe returned to the Croisette the following year with his debut feature, Reconstruction. A dazzlingly inventive and playful film, Reconstruction’s tale of love and parallel universes in Copenhagen beguiled critics and was awarded both the Camera D’Or and the Prix Regards Jeune. Boe was celebrated as international cinema’s most precocious wunderkind, and his film played all around the world, plundering prizes – including the prestigious FIPRESCI Director of the Year award at San Sebastian Film Festival – wherever it went.
Next his film ‘Allegro” is also coming the way of love but with a lot more melancholy. Ansering on the question – Were those films a reflection on what was going on in director’s life at the time, Christoffer Boe said: ‘My movies have gone in the exact opposite direction of my own life. I’ve become more and more happy, and my movies have become more and more depressive. Offscreen is off the charts in depression and hatred. I don’t know how the relationship works between that, but it seems like there is an outlet in my cinema for some feelings that I don’t have in my personal life.’

[youtube="http://www.youtube.com/watch?v=gTtc8Xx4LM0"]

If you could travel back in time are you sure you can ewmind all those you loved and all thoose who loved you.
- ‘What’s the meaning of this?… Do you remember this woman?…You remember something?
- I forgot it.

FM: Are you ever totally satisfied with your films? Reconstruction was such a huge success and seemed to be universally loved, but how did you feel about it?

Boe: I really don’t look back. When I make a movie, it’s a closure on something I want to deal with, but I don’t look back on when I was very successful. Obviously I tend to look at what people don’t like. There was a lot of stuff that people said about Reconstruction and even more so about Allegro. Obviously I try to listen to that because there might be something wrong with the way that I work with some of the ideas, but I don’t look back in the sense that it’s never Le Mépris. It’s never Godard.

Une femme douce / A Gentle Creature / 1969 / is the first color Robert Bresson’s film sees a marked change in the director’s style from the cold austerity and intensity of his earlier works, such as Au hasard Balthazar (1966) and Mouchette (1967). Although the film deals with familiar Bresson themes of suicide and domestic repression, his approach in this film is far more accessible, making the film attractive to a mainstream cinema audience (for perhaps for the last time in Bresson’s film-making career). Bresson cast a successful model Dominique Sanda in the role of the ill-fated heroine of the film, allegedly for the sound of her voice rather than her more obvious attributes. Sanda’s celebrity may have been another important factor which contributed to the film’s popularity.

Director: Robert Bresson
Script: Robert Bresson, Fyodor Dostoyevsky (novel)
Photo: Ghislain Cloquet
Music: Jean Wiener
Cast: Dominique Sanda (Elle), Guy Frangin (Luc, son mari), Jeanne Lobre (Anna, la bonne), Claude Ollier (Le médecin), Jacques Kébadian (Le dragueur), Gilles Sandier (Le maire), Dorothée Blank (L’infirmière)
Country: France
Language: French
Runtime: 88 min
Aka: A Gentle Creature; A Gentle Woman

Summary
When his young wife commits suicide, leaving no explanation for her act, an introspective pawnbroker looks back on their life together and tries to understand why she had to kill herself.

I love what Lars Von Trier does, I mean his movies and ways he offers to follow him. This horrific drama tells the story of a grieving couple who retreat to a cabin in the woods, hoping to repair their broken hearts and troubled marriage. But nature takes its course providing the shortest way from bad to worse.

In the initial press release, Von Trier said that the film would offer “a glimpse into the dark world of my imagination: into the nature of my fears, into the nature of Antichrist.”

Sofia Coppola was burn in May 14, 1971 in the family of legendary film director Francis Ford Coppola. No wonder that she has chosen the way of cinematograph like her father. So she made her film debut playing baby Michael Francis Rizzi in her father’s film The Godfather (1972). At two years of age, she made an appearance in The Godfather Part II (1974) as a child on a steamship. Over the next few years she appeared in four more of her father’s films, including The Outsiders (1983), Rumble Fish (1983), The Cotton Club (1984) and Peggy Sue Got Married (1986). She landed a role in a short directed by Tim Burton and a small part in the feature film Anna (1987) directed by Yurek Bogayevicz, before replacing Winona Ryder in The Godfather Part III (1990). Unfortunately, she was awarded with two Razzie awards for her trouble: Worst New Star and Worst Supporting Actress. She made one more film appearance, in Inside Monkey Zetterland (1992), before realizing that rather than acting, she wanted to follow in her father’s footsteps. She enrolled at the California Institute of the Arts to study Fine Arts.

Her first film was a short that she wrote and directed, called Lick the Star (1998). She made her feature film directing debut with her own screenplay, The Virgin Suicides (1999), starring Hayden Christensen (pre-Star Wars Episode II), Josh Hartnett and Kirsten Dunst. Directing seemed to be the right choice for Sofia, as she won a Young Hollywood Award for Best Director, as well as an MTV Movie Award for Best New Filmmaker.

Coppola, whose cousin is Nicolas Cage, married fellow director Spike Jonze in 1999, then wrote, produced and directed her next feature film, Lost in Translation (2003), a romantic comedy starring Bill Murray and Scarlett Johansson. Coppola won a Golden Globe for her screenplay, as well the Lina Mangiacapre Award at the Venice Film Festival for the film. She also received Best Director and Best Original Screenplay nods at the 2004 Academy Awards, winning the Best Original Screenplay Oscar.

In 2003, Coppola and Jonze divorced. She went on to write and direct Marie Antoinette (2006), starring Kirsten Dunst, which won the Cinema Prize of the French National Education System at the Cannes Film Festival.

Filmography (director):

Marie Antoinette (2006)
Lost in Translation (2003)
The Virgin Suicides (1999)

Filmography ? Oscars™ Nominations And Awards
Director Marie Antoinette (2006)

Producer Marie Antoinette (2006)

Director Lost in Translation (2003) Best Director Nominee

Producer Lost in Translation (2003) Best Director Nominee

Director The Virgin Suicides (2000)