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7thartheaven · 2 years

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"What isn't resolved by love, remains forever in suspense."

Nouvelle Vague (1990), Jean-Luc Godard

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escapismthroughfilm · 1 year

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#128

#nostalghia #1983 #andrei tarkovsky #1980s cinema #domiziana giordano #oleg yankovsky #soviet cinema #cinematography #movie screenshots #movie screengrabs #movie screencaps #movie frames #movie #movies #cinematography appreciation #escapism through film #the beauty of cinema #films #10 frames from film

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lamiaprigione · 2 years

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Nostalghia (1983)

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shihlun · 1 year

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Jean-Luc Godard

- Nouvelle Vague

1990

#jean luc godard #nouvelle vague #alain delon #domiziana giordano #1990 #french film #positive/negative

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kiki-de-la-petite-flaque · 2 months

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Oleg Ivanovič Jankovskij e Domiziana Giordano in Nostalghia, Andrej Tarkovskij, 1983.

#Oleg Ivanovič Jankovskij #Domiziana Giordano #Andrej Tarkovskij

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tunasaladonwhite · 3 months

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#andrei tarkovsky #nostalghia #Oleg yankovsky #Domiziana giordano

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mygreatadventurehasbegun · 9 months

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One Dress a Day Challenge- Part Three!

July: Blue/Green Redux

Gentlemen Prefer Blondes- Jane Russell as Dorothy Shaw

The Mists of Avalon- Anjelica Huston as Vivianne

Meet Me in St. Louis- Judy Garland as Esther Smith

Interview with the Vampire- Kirsten Dunst as Claudia and Domiziana Giordano as Madeline

Funny Face- Audrey Hepburn as Jo Stockton

How to Marry a Millionaire- Betty Grable as Loco

OK.

So I was going to do separate posts for all of these outfits, but life has gotten really busy...so instead we're doing one giant post!

Not going to go into details about everything, but the 1950's has shown up again...not once, not twice, but three times! I am obsessed with the royal blue that Betty Grable is wearing (along with that pink crinoline)

And I had forgotten about The Mists of Avalon until recently...but this was a favorite of mine back in the day...and this miniseries had so much Arthurian fantasy gorgeousness. So many great colors with the long renaissance hair...since Vivianne is the Lady of the Lake, she almost exclusively wears blue.

And I want to quickly touch on Claudia's costumes in Interview with a Vampire...I love how she changes her wardrobe and starts dressing as an adult, even though she still looks like a child. But both of their silk gowns are gorgeous!!

And I adore everything about Meet Me in St. Louis...I don't know if I can say anything that I haven't already said...

#one dress a day challenge #how to marry a millionaire #gentlemen prefer blondes #interview with a vampire #funny face #the mists of avalon #meet me in st. louis

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dukhoiada · 1 year

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Domiziana Giordano and Oleg Yankovsky on the set of "Nostalghia", 1983

#dominiziana giordano #oleg yankovsky #nostalghia #andrei tarkovsky #film #behind the scenes

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beautifulactres · 1 year

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Domiziana Giordano in Nostalghia (1983)

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reginadeinisseni · 6 months

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Nostalghia（1983）/ Andrei Tarkovsky / BWV853

TONINO GUERRA andrej Tarkovskij

ANDREA CRISANTI - SCENOGRAFIA

Giuseppe Lanci Montaggio Amadeo Salfa, Erminia Marani Musiche Debussy, Verdi, Wagner, Beethoven Scenografia Andrea Crisanti Costumi Lina Nerli Taviani

Renzo Rossellini, Manolo Bolognini

Oleg Jankovskij: Andrej Gorčakov Domiziana Giordano: Eugenia Delia Boccardo: Moglie di Domenico Erland Josephson: Domenico Maria Cumani Quasimodo Doppiatori italiani Sergio Fiorentini: Domenico Lia Tanzi: Eugenia

Nostalghia (in russo Ностальгия?, Nostal'gija) è un film del 1983 diretto da Andrej Tarkovskij.

Vinse il Grand Prix du cinéma de création al festival di Cannes di quell'anno, ex æquo con L'Argent di Robert Bresson.

Un poeta sovietico, Andrej Gorčakov, è in Italia per scrivere la biografia di un compositore russo del XVIII secolo, Andrej Sosnovskij. Insieme a lui è la sua interprete, la bella e irrequieta Eugenia. Durante una tappa a Bagno Vignoni, Gorčakov conosce il vecchio Domenico, un uomo ritenuto da tutti matto perché, vari anni prima, è rimasto rinchiuso in casa per 7 anni con la sua famiglia in attesa della fine del mondo. Gorčakov è attratto dall’uomo e va a trovarlo. Durante il lungo dialogo fra i due, Domenico affida a Gorčakov la missione di compiere in sua vece un rito salvifico: attraversare con una candela accesa la piscina di acque termali di Bagno Vignoni, RITO CHE DOPO 2 TENTATIVI FALLITI LO PORTERA' ALLA MORTE

❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️ ❤️❤️

#gustavopetro #colombia #DONALDTRUMP #TRUMP #BOLSONARO #DORIGHEZZI #STRISCIALANOTIZIA #FRANCESCO #RUTELLI #PROPAGANDALIVE #ELUANA #ENGLARO #ELUANAENGLARO #CRISTIANODEANDRE #twitter #facebook #skyrock #linkedin #instagram #okru #tiktok

#youtube

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theageofthemovies · 2 years

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NOUVELLE VAGUE - (Jean-Luc Godard, 1990).

The movie is centered on a sort of meta-story (an evident accomplished story that discloses a broader existential meaning) in which a wealthy glamorous woman (Domiziana Giordano) is first attracted to a handsome inept man (Alain Delon), then (after his death) to his twin brother, physically similar to the former but with a completely different character...If one finds the strength to excuse the arduous (and often complicated and disconcerting) Godard-ian mise-en-scène, he can realize the movie is an intelligent reflection about two main themes of Cinema: the role of Love (and its strange ways to express itself) and the pass of the time (with the constant presence of the past in our actual actions); the former merges the contrasted love between the protagonists (often symbolically divided by a handkerchief on their lips) and that one of the director to the Cinema itself; the latter is displayed by the many scenes shot open-air - leaves, change of seasons...-.Many are the cinematic and literary references (one of the director's trademark): the woman's name is "Torlato-Favrini" (like Ava Gardner in "The Barefoot Countess"), the stinging dead bee is taken from "To Have and Have Not" and into the dialogues there are plenty of quotations from Lucretius, Tolstoj etc.). The resulting movie is an austere and (imo) ironic artifact in which Godard (by showing only the images that are essential to movie's main theme), choices to privilege an anti-narrative and drastically anti-Hollywoodian structure that may (or probably: must) bewilder the less prepared viewers. One can respect or disdain this movie that, like the great part of the director's production after the 1958, is often "hard to digest": I myself, I take Godard's movies as a particular "genre" of cinema that can be replicated only by Godard himself and, according this pov of mine, I don't rate this film if agreeing with Italian critic Farassino when he writes: "... through new forms and new models... (Godard can)... make us to discover, in the contemporary world, all those aspects of novelty that the other films can’t tell".

r.m.