#fellini 100 | Explore Tumblr Posts and Blogs

francescosatanassi · 4 months

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I cartelli che vietano di sedersi sui gradini del centro e lo stop al consumo di alcolici e analcolici in vetro e lattina sono apparsi a Forlì e con le loro le multe. Se invece di attendere alle Poste scelgo di sedermi fuori con un’aranciata sono 150 euro. Eccitatissimo il vicesindaco Mezzacapo, lo stesso che a pochi giorni dall’anniversario della Liberazione della città ha pubblicato un video di Mussolini che inaugura il monumento in p.zzale della vittoria tra le grida “Duce! Duce!” Agghiacciante ma non mi stupisco, mentre le bombe al fosforo sfiguravano i palestinesi, l’assessora Cintorino pubblicava la bandiera di Israele definendola “l’unica democrazia del Medio Oriente.” Oggi Forlì è una città in mano a un gruppo di razzisti che nulla ha fatto per il bene della comunità, che vuol farci credere di essere in pericolo a causa dell’uomo nero “scaldapanchine”, per offrirci una falsa soluzione con telecamere e ordinanze repressive. Intanto i poveri restano poveri e i fasci restano fasci. Ma l’importante è spendere, così pare, 700.000 euro per le luminarie di Natale. Ci hanno detto che quei soldi non avrebbero avuto senso per le famiglie alluvionate. In fondo, queste chiedevano solo di essere ascoltate dopo una gestione fallimentare dell’emergenza, dove il sindaco Zattini, mentre i nostri scarponi erano ancora umidi, propose di dare alle banche i soldi raccolti dalle donazioni. E mentre i forlivesi si radunavano davanti al municipio senza che nessuno, in tre mesi, decidesse di ascoltarli, il profilo ufficiale del Comune pubblicava la ricetta del fricò alla romagnola. Non scherzo, a volte penso di essere in un film di Fellini. E invece.. dopo la promessa di scendere in piazza a fianco degli alluvionati, alla prima manifestazione, Zattini era impegnato a consegnare a un arrotino la targa per i 100 anni di attività. Mi raccomando, se passate da queste parti nascondete le lattine di Pepsi e non stancatevi troppo per non rischiare di dovervi riposare su un gradino. Però tranqui, presto piazza Saffi sarà aperta alle auto e basteranno pochi passi per vedere l’unica cosa che oggi regna a Forlì: un grande e imbarazzante disagio (ma illuminato da Dio! Viva le luminarie!)

#forli

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i-am-the-oyster · 1 month

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Actually there was this one video analysis I saw of MMT that I enjoyed that broke down that sequence as essentially a metaphorical funeral procession as someone undergoes ego death from an acid trip and is reborn as their new self.

Ooh, this is super interesting! Is this the video?

youtube

(I really enjoyed this, but I'm not 100% certain it's the one you saw).

I have long believed that Paul is a much more interesting filmmaker than he's usually given credit for. In a sense I think the accessibility of his music is a barrier to people approaching his films in the right way. Fellini isn't hugely popular, but when people watch his work they assume there's something to see; that it is difficult rather than inane.

People come to Paul's films expecting something familiar and accessible and (generally) don't put the analytical/exploratory work in to try to understand them. They don't get anything from it, and assume that's the film(/filmmaker)'s fault.

I have plans to write an essay about Give My Regards to Broad Street (it's 40 years old this year!), I hope I can get it done and encourage people to pick up some of what Paul is putting down.

#sorry for not answering this before #it wasn't showing up on my phone app for some reason #i kind of wish i had a blueray player #so i could get the blueray and all the commentary #the tug of war reference!!#paul's black carnation #@myplasticadversary #if this is correct it makes so much sense why paul has never clearly explained it

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mclennonlgbt · 2 years

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John queering and Paul un-queering the Beatles

TW: f*g slur

Reading and watching the various statements by John and Paul, I've noticed that Lennon loves to refer to the Beatles as "four fags" - and if he talks about himself and Paul, he is also heavily queer-coding - and McCartney is very distant from the subject. He doesn't feel comfortable with it and tries to convince himself that the Beatles were 100% heterosexual.

Everyone can draw conclusions for themselves. Here I wanted to put a compilation of those statements.

JOHN LENNON

1971: "The laugh is that nobody ever said – they did say to us Beatles, as Beatles: „Don’t you get on each other’s nerves?” I suppose that was the same question, but they didn’t really… Now they’re howling because we are parted. But there were times that I spent as much time with George, Paul and Ringo as I did with Yoko. I mean I slept with them in the same room – in twin beds of course – on tour… And I lived and breathed with them for 5 or 10 years or something. Nobody said that about 4 young fags living together, right? Not a word!"

1972: "It’s a strange thing, though, that the whole of the world would like 4 men to stay together. In blissful youthfullness – all shaking their heads and being the Fab Four, and never having any women in the scene. Very strange seeing the whole world wants 4 fags to go on together, you know, forever”.

I don't know the year (from the book "The Beatles: Off the Record"): "“The Beatles’ tours were like Fellini’s Satyricon. [...] I mean, we had that image, but man, our tours were likes something else. If you could get on our tours, you were in. Australia, just everywhere! Just Satyricon. Just think of Satyricon with four musicians going through it. Wherever we went, there was always a whole scene going on. We had our four bedrooms separate and Derek and Neil’s rooms were always full of fuck knows what, and policemen and everything. Satyricon! We had to do something, and what do you do when the pill doesn’t wear off, when it’s time to go? I used to be up all night with Derek, whether there was anybody there or not. I could never sleep, such a scene it was". "Satyricon" is s a 1969 Italian fantasy drama film by Federico Fellini. The movie contains quite a bit of sexual innuendo, but very little, if any, is heterosexual.

1980: "Still, in the early days, we didn’t care about lyrics as long as the song had some vague theme… she loves you, he loves him, they all love each other.”

1980: "Nobody ever said anything about Paul's having a spell on me or my having one on Paul! They never thought that was abnormal in those days, two guys together, or four guys together! Why didn't they ever say, 'How come those guys don't split up? I mean, what's going on backstage? What is this Paul and John business? How can they be together so long?' We spent more time together in the early days than John and Yoko: the four of us sleeping in the same room, practically in the same bed, in the same truck, living together night and day, eating, shitting and pissing together! All right? Doing everything together! Nobody said a damn thing about being under a spell. Maybe they said we were under the spell of Brian Epstein or George Martin”.

PAUL MCCARTNEY

The Beatles Anthology, 2000: "It was always obvious Brian was gay and we could talk to him about gay things, but he would never come out with, 'Hello, Paul, you're looking nice today.' I was quite obviously un-gay, due to my haunting of the female hordes, and I think we all must have given the same impression".

1997, Paul talking about the script of „Up Against It”, the movie the Beatles were supposed to star in, but that never happened, to Roy Carr: "We weren’t gay and really that was all there was to it. It was quite simple, really. Brian was gay… and so he and the gay crowd could appreciate it. Now, it wasn’t that we were anti-gay - just that we, The Beatles, weren’t gay".

I don't know the year: “But John, I loved him as a brother, but I’m not writing a love song to him".

Disclaimer: I'm aware that John is mildly homophobic in his statements and that Howard Stern is very pushy on Paul, which really sucks (Howard Stern sucks in general).

#mclennon #queer beatles #interviews #a lot to think about

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lamilanomagazine · 6 months

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31 ottobre 1993 - 31 ottobre 2023. «F come Fellini»: nel 30ennale della scomparsa Cine34 ricorda il più grande regista del cinema italiano.

31 ottobre 1993 - 31 ottobre 2023. «F come Fellini»: nel 30ennale della scomparsa Cine34 ricorda il più grande regista del cinema italiano. In occasione del 30ennale dalla scomparsa, Cine34 propone una rassegna dedicata a Federico Fellini. Una carrellata di capolavori, che ricordano il più grande regista del cinema italiano, riscoprendone valore, influenze, tic, leggerezza, ritmo e straordinari sogni, grazie a introduzioni e commenti dell’autorevole critico cinematografico, autore e saggista, Tatti Sanguineti. Il più autobiografico tra tutti i film di Fellini, la commedia venata di malinconia Amarcord, Oscar per il miglior film straniero (oltre a Golden Globe, David di Donatello, Nastro d’Argento...), va in onda il 31 ottobre, in prima serata. Presentata fuori concorso al Festival di Cannes, l’opera è stata selezionata tra i 100 film italiani da salvare. Il titolo, entrato nella cultura popolare, è quindi diventato un neologismo della lingua italiana, con il significato di rievocazione in chiave nostalgica. Nel cast della pellicola, Pupella Maggio, Armando Brancia, Magali Noël, Ciccio Ingrassia, Nando Orfei, Luigi Rossi, Bruno Zanin, Gianfilippo Carcano, Josiane Tanzilli, Maria Antonietta Beluzzi, Giuseppe Ianigro, Marcello Di Falco, Alvaro Vitali. Ai titoli già trasmessi - Lo Sceicco Bianco, il primo diretto, nel ’52, con Giulietta Masina e Alberto Sordi; il successivo (I Vitelloni), vincitore di un Leone d’Argento e tre Nastri d’Argento; il pluripremiato La Dolce Vita, opera che ha segnato un prima e un dopo nel cinema internazionale, e 8 ½, doppio premio Oscar (miglior film straniero e migliori costumi), con Marcello Mastroianni, in entrambe le pellicole sex-symbol inarrivabile - seguono Giulietta degli Spiriti, primo film a colori del Maestro, doppio premio Oscar, Golden Globe per il miglior film straniero, David di Donatello a Giulietta Masina e Sandra Milo, e Le tentazioni del dott. Antonio, tratto dal film Boccaccio ‘70.... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

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kebriones · 1 year

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Okay so my review of the Fellini Satyricon, which I watched I think two days ago while not entirely sane because of a pretty bad case of covid:

I liked it a lot. It's not for everyone, like I'm sure my mom who has certain big triggers would 100% not enjoy it. But once you get past the first 30 minutes I feel like you get used to the wierdness. My favorite things were the sets, I can't tell you how good they are. The scene where there's that house with the couple that free all their slaves (I won't spoil the rest) where outside the sky is purple and there are these beautiful plant things all around and the house is nearly completely empty feels exactly like a dream. The place where the main characters seem to live, near the beginning of the movie, is also one of my favorite places in it. SO cool. Another thing I really liked were the actors. Specifically how the actors all had a very specific, nearly cartoonish look to them. Idk how to describe it, but each one fit perfectly the role they were playing. And of course, the transition from one scene to the next captures that non-sensical dream-like quality super accurately. Like, now were' here and this thing is happening, and now suddenly we're somewhere completely different and the plot has kinda changed and we're doing something random and unexplained. What kept throwing me off was the dubbing, which if my information is correct, was done that way on purpose, and if so, definitely managed to give me that mild discomfort throughout the movie. I also liked it when people were talking gibberish, that was a good touch. Overall, i'm really glad I watched it because, I think I said this before, it was refreshing. Like as an artist, I felt I needed that. You forget you're allowed to be weird as all hell sometimes. And I honestly enjoyed it and it filled my brain with ideas

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thesludgeofbabylon · 1 year

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Top 100 Films

Just wanted to put this somewhere for the sake of documentation, might do this once a year to see how much the overall list changes.

Not ranked, but the list is done by release date, earliest to most recent. Includes short and feature length films (plus one TV series, and two serials, if you want to be specific):

• The Musketeers of Pig Alley (1912), dir. D.W. Griffith

• Fantômas (1913), dir. Louis Feuillade

• Les Vampires (1915), dir. Louis Feuillade

• The Doll (1919), dir. Ernst Lubitsch

• Foolish Wives (1922), dir. Erich von Stroheim

• Sherlock, Jr. (1924), dir. Buster Keaton

• Die Nibelungen: Kriemhild’s Revenge (1924), dir. Fritz Lang

• Greed (1924), dir. Erich von Stroheim

• The Last Laugh (1924), dir. F. W. Murnau

• The Gold Rush (1925), dir. Charlie Chaplin

• The General (1926), dir. Buster Keaton, Clyde Bruckman

• Sunrise: A Song of Two Humans (1927), dir. F. W. Murnau

• The Passion of Joan of Arc (1928), dir. Carl Theodor Dreyer

• The Docks of New York (1928), dir. Josef von Sternberg

• The Wedding March (1928), dir. Erich von Stroheim

• Man with a Movie Camera (1929), Dziga Vertov

• M (1931), dir. Fritz Lang

• Vampyr (1932), dir. Carl Theodor Dreyer

• I Am a Fugitive from a Chain Gang (1932), dir. Mervyn LeRoy

• Gold Diggers of 1933 (1933), dir. Mervyn LeRoy, Bubsy Berkeley

• L’Atalante (1934), dir. Jean Vigo

• The Scarlet Empress (1934), dir. Josef von Sternberg

• The Thin Man (1934), dir. W.S. Van Dyke

• The Only Son (1936), dir. Yasujirō Ozu

• Citizen Kane (1941), dir. Orson Welles

• Now, Voyager (1942), dir. Irving Rapper

• Meshes of the Afternoon (1943), dir. Maya Deren

• Day of Wrath (1943), dir. Carl Theodor Dreyer

• At Land (1944), dir. Maya Deren

• Ivan the Terrible, Part I (1944), dir. Sergei Eisenstein

• Notorious (1946), dir. Alfred Hitchcock

• Sunset Boulevard (1950), dir. Billy Wilder

• Monsieur Hulot’s Holiday (1953), dir. Jacques Tati

• The Wages of Fear (1953), dir. Henri-Georges Clouzot

• The Big Heat (1953), dir. Fritz Lang

• The Inauguration of the Pleasure Dome (1954), dir. Kenneth Anger

• Rear Window (1954), dir. Alfred Hitchcock

• Ordet (1955), dir. Carl Theodor Dreyer

• A Man Escaped (1956), dir. Robert Bresson

• Ivan the Terrible, Part II: The Boyars’ Plot (1958), dir. Sergei Eisenstein

• La Dolce Vita (1960), dir. Federico Fellini

• L’Avventura (1960), dir. Michelangelo Antonioni

• La Notte (1961), dir. Michelangelo Antonioni

• L’Eclisse (1962), dir. Michelangelo Antonioni

• The Exterminating Angel (1962), dir. Luis Buñuel

• Mothlight (1963), dir. Stan Brakhage

• Red Desert (1964), dir. Michelangelo Antonioni

• Gertrud (1964), dir. Carl Theodor Dreyer

• The War Game (1966), dir. Peter Watkins

• Au Hasard Balthazar (1966), dir. Robert Bresson

• Daisies (1966), dir. Věra Chytilová

• Lemon (1969), dir. Hollis Frampton

• The Conformist (1970), dir. Bernardo Bertolucci

• The Discreet Charm of the Bourgeoisie (1972), dir. Luis Buñuel

• F for Fake (1973), dir. Orson Welles

• Lancelot of the Lake (1974), dir. Robert Bresson

• A Woman Under the Influence (1974), dir. John Cassavetes

• The Texas Chain Saw Massacre (1974). dir. Tobe Hooper

• House (1977), dir. Nobuhiko Obayashi

• Stalker (1979), dir. Andrei Tarkovsky

• Nostalgia (1983), dir. Andrei Tarkovsky

• L’Argent (1983), dir. Robert Bresson

• Blue Velvet (1986), dir. David Lynch

• Heathers (1989), dir. Michael Lehmann

• Kiki’s Delivery Service (1989), dir. Hayao Miyazaki

• Baraka (1992), dir. Ron Fricke

• Satantango (1994), dir. Béla Tarr

• A Confucian Confusion (1994), dir. Edward Yang

• Chungking Express (1994), dir. Wong Kar-Wai

• Ed Wood (1994), dir. Tim Burton

• Whisper of the Heart (1995), dir. Yoshifumi Kondo

• Showgirls (1995), dir. Paul Verhoeven

• Neon Genesis Evangelion: The End of Evangelion (1997), dir. Hideaki Anno, Kazuya Tsurumaki

• Gummo (1997), dir. Harmony Korine

• The Big Lebowski (1998), dir. Joel Coen, Ethan Coen

• Outer Space (1999), dir. Peter Tscherkassky

• Beau Travail (1999), dir. Claire Denis

• Julien Donkey-Boy (1999), dir. Harmony Korine

• Yi Yi (2000), dir. Edward Yang

• Dancer in the Dark (2000), dir. Lars von Trier

• The Piano Teacher (2001), dir. Michael Haneke

• Mulholland Drive (2001), dir. David Lynch

• What Time Is It There? (2001), dir. Tsai Ming-liang

• Memories of Murder (2003), dir. Bong Joon-ho

• The Matrix Reloaded (2003), dir. Lily Wachowski, Lana Wachowski

• The Village (2004), dir. M. Night Shyamalan

• Caché (2005), dir. Michael Haneke

• Southland Tales (2006), dir. Richard Kelly

• Inland Empire (2006), dir. David Lynch

• Zodiac (2007), dir. David Fincher

• The White Ribbon (2009), dir. Michael Haneke

• The Turin Horse (2011), dir. Béla Tarr

• Five Broken Cameras (2012), dir. Emad Burnat, Guy Davidi

• The Master (2012), dir. Paul Thomas Anderson

• Spring Breakers (2012), dir. Harmony Korine

• Song to Song (2017), dir. Terrence Malick

• Twin Peaks: The Return (2017), dir. David Lynch

• The Favourite (2018), dir. Yorgos Lanthimos

• Portrait of a Lady on Fire (2019), dir. Céline Sciamma

• We’re All Going to the World’s Fair (2021), dir. Jane Schoenbrun

(10/4/23)

#favourite films #top 100 #ranking #films #world cinema #classic hollywood #arthouse #list

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mogwai-movie-house · 2 years

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The 100 Best Films of The 1960s

1. 2001: A Space Odyssey (1968) ★★★★★★★★★★ 2. Butch Cassidy and the Sundance Kid (1969) ★★★★★★★★★★ 3. Psycho (1960) ★★★★★★★★★½ 4. Blow-Up (1966) ★★★★★★★★★½ 5. A Fistful of Dollars (1964) ★★★★★★★★★½ 6. My Fair Lady (1964) ★★★★★★★★★☆ 7. The Good, the Bad and the Ugly (1966) ★★★★★★★★★☆ 8. The Virgin Spring (1960) ★★★★★★★★★☆ 9. The Birds (1963) ★★★★★★★★★☆ 10. El Dorado (1967) ★★★★★★★★★☆ 11. Two Women (1960) ★★★★★★★★★☆ 12. Le Doulos (1962) ★★★★★★★★★☆ 13. Le Samouraï (1967) ★★★★★★★★★☆ 14. The Great Escape (1963) ★★★★★★★★½☆ 15. Cool Hand Luke (1967) ★★★★★★★★½☆ 16. For a Few Dollars More (1965) ★★★★★★★★½☆ 17. Onibaba (Demon Hag) (1964) ★★★★★★★★½☆ 18. Peeping Tom (1960) ★★★★★★★★½☆ 19. The Battle of Algiers (1966) ★★★★★★★★½☆ 20. Federico Fellini's 8½ (1963) ★★★★★★★★½☆ 21. Planet of the Apes (1968) ★★★★★★★★½☆ 22. Redbeard (1965) ★★★★★★★★☆☆ 23. The Executioner (1963) ★★★★★★★★☆☆ 24. I Am Cuba (1964) ★★★★★★★★☆☆ 25. The Sound of Music (1965) ★★★★★★★★☆☆ 26. The Italian Job (1969) ★★★★★★★★☆☆ 27. The Jungle Book (1967) ★★★★★★★★☆☆ 28. To Kill a Mockingbird (1962) ★★★★★★★★☆☆ 29. Dr. Strangelove (1964) ★★★★★★★★☆☆ 30. Belle de Jour (1967) ★★★★★★★★☆☆ 31. Alfie (1966) ★★★★★★★★☆☆ 32. Breakfast at Tiffany's (1961) ★★★★★★★★☆☆ 33. Mary Poppins (1964) ★★★★★★★★☆☆ 34. The Prime of Miss Jean Brodie (1969) ★★★★★★★★☆☆ 35. The Graduate (1967) ★★★★★★★★☆☆ 36. A Man for All Seasons (1966) ★★★★★★★★☆☆ 37. Lawrence of Arabia (1962) ★★★★★★★★☆☆ 38. Bonnie and Clyde (1967) ★★★★★★★★☆☆ 39. Rosemary's Baby (1968) ★★★★★★★★☆☆ 40. The Magnificent Seven (1960) ★★★★★★★★☆☆ 41. Wait Until Dark (1967) ★★★★★★★★☆☆ 42. True Grit (1969) ★★★★★★★★☆☆ 43. The Hustler (1961) ★★★★★★★★☆☆ 44. The Ipcress File (1965) ★★★★★★★★☆☆ 45. Andrei Rublev (1966) ★★★★★★★★☆☆ 46. Hamlet (1969) ★★★★★★★★☆☆ 47. Murder She Said (1961) ★★★★★★★★☆☆ 48. What Ever Happened to Baby Jane? (1962) ★★★★★★★★☆☆ 49. The Loneliness of the Long Distance Runner (1962) ★★★★★★★★☆☆ 50. Army of Shadows (1969) ★★★★★★★★☆☆ 51. A Taste of Honey (1961) ★★★★★★★★☆☆ 52. Goldfinger (1964) ★★★★★★★★☆☆ 53. Kuroneko (The Black Cat) (1968) ★★★★★★★★☆☆ 54. Mademoiselle (1966) ★★★★★★★★☆☆ 55. Two Way Stretch (1960) ★★★★★★★★☆☆ 56. Take the Money and Run (1969) ★★★★★★★★☆☆ 57. In The Heat Of The Night (1967) ★★★★★★★★☆☆ 58. 101 Dalmatians (1961) ★★★★★★★★☆☆ 59. Electra (1962) ★★★★★★★★☆☆ 60. Kwaidan (Ghost Stories) (1964) ★★★★★★★★☆☆ 61. Mouchette (1967) ★★★★★★★★☆☆ 62. My Night with Maud (1969) ★★★★★★★★☆☆ 63. Cape Fear (1962) ★★★★★★★★☆☆ 64. The Railrodder (1965) ★★★★★★★★☆☆ 65. Harakiri (1962) ★★★★★★★½☆☆ 66. Midnight Cowboy (1969) ★★★★★★★½☆☆ 67. Once Upon a Time in the West (1968) ★★★★★★★½☆☆ 68. The Apartment (1960) ★★★★★★★½☆☆ 69. Hunger (1966) ★★★★★★★½☆☆ 70. The War Wagon (1967) ★★★★★★★½☆☆ 71. Lolita (1962) ★★★★★★★½☆☆ 72. Last Year in Marienbad (1961) ★★★★★★★½☆☆ 73. Woman In Chains (1968) ★★★★★★★½☆☆ 74. Whistle Down the Wind (1961) ★★★★★★★½☆☆ 75. The Trial (1962) ★★★★★★★½☆☆ 76. Privilege (1967) ★★★★★★★½☆☆ 77. The Servant (1963) ★★★★★★★½☆☆ 78. Yojimbo (1961) ★★★★★★★½☆☆ 79. From Russia with Love (1963) ★★★★★★★½☆☆ 80. A Hard Day's Night (1964) ★★★★★★★½☆☆ 81. Night of the Living Dead (1968) ★★★★★★★½☆☆ 82. Kes (1969) ★★★★★★★½☆☆ 83. The Bride Wore Black (1968) ★★★★★★★½☆☆ 84. Divorce Italian Style (1961) ★★★★★★★½☆☆ 85. Shame (1968) ★★★★★★★½☆☆ 86. Zulu (1964) ★★★★★★★½☆☆ 87. They Shoot Horses, Don't They? (1969) ★★★★★★★½☆☆ 88. Zorba The Greek (1964) ★★★★★★★½☆☆ 89. The Unfaithful Wife (1969) ★★★★★★★½☆☆ 90. Dr. No (1962) ★★★★★★★½☆☆ 91. The Man Who Shot Liberty Valance (1962) ★★★★★★★½☆☆ 92. Oliver! (1968) ★★★★★★★½☆☆ 93. Knife in the Water (1962) ★★★★★★★☆☆☆ 94. Spartacus (1960) ★★★★★★★☆☆☆ 95. Repulsion (1965) ★★★★★★★☆☆☆ 96. Birdman of Alcatraz (1962) ★★★★★★★☆☆☆ 97. Carry On Up the Khyber (1968) ★★★★★★★☆☆☆ 98. Quatermass and the Pit (1967) ★★★★★★★☆☆☆ 99. Marnie (1964) ★★★★★★½☆☆☆ 100. Lord of the Flies (1963) ★★★★★★½☆☆☆

#classic movies #film recommendations #1960s

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oldmovieactress · 2 years

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Claudia Cardinale: From Tunisia to Hollywood

Claudia Cardinale is a Tunisian-Italian film actress and sex symbol who has appeared in over 100 films. She is best known for her roles in The Leopard and Once Upon a Time in the West. She was born and raised in Tunisia, before moving to Rome to pursue her acting career. She has worked with some of the most respected directors in the industry, including Federico Fellini, Sergio Leone, and Luchino Visconti.

#claudiacardinale

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shaddad · 1 year

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fellini no set de la dolce vita e extras na filmagem de 8 e 1/2, de tony vaccaro que fez 100 anos no dia 20 de dezembro

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waugh-bao · 2 years

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Top 5 movies from before the 21th century, go.

Oh, I love this, but I also hate it, because it’s like picking a favorite child. In no particular order, I’ll go with:

1. Twelve O’Clock High, dir. Henry King (1949)

100% a comfort movie for me, and I’ve seen it a million times, yet I think it can stand on its own merits. It’s a war film that doesn’t glorify conflict, and manages to portray sympathetically and realistically the lives and struggles of both soldiers and their commanders. Well written, and with very natural, believable performances, especially by Gregory Peck and Dean Jagger. The triumph of the film, I think, is that it carries its complexities all the way through, and doesn’t try to go for a saccharine happy ending.

2. Casablanca, dir. Michael Curtiz (1943)

This is probably a cliché pick, but I genuinely love Casablanca. It really is perfect, from the cinematography and the acting to the script and the costumes. Knowing it had Claude Rains was actually what got me to see it for the first time, and I still think he, and his relationship with Humphrey Bogart in the film, is one of the elements that makes it genuinely great.

3. 8 1/2 + City of Women, dir. Federico Fellini (1963 and 1980)

I’m cheating here, but the two movies do form an unofficial series. Fellini is a truly brilliant director, and what makes these movies for me is his ability to balance a variety of perspectives with empathy and honesty. Mastroianni’s Anselmi exists as the films protagonist as both a sympathetic, idealistic shaper of art and a weak, indecisive man who hurts everyone around him by refusing to try to move beyond those traits. Which is probably not a great pitch for the film, but I swear, it’s a unique experience. City of Women doesn’t truly reach the level of 8 1/2, but it’s interesting to see Fellini’s extension of the concept.

4. Flowers of Shanghai, dir. Hou Hsiao-Hsien (1998)

This is likely the final mark against me as a pretentious film nerd (thanks Criterion Channel subscription!), but regardless, a great film. My elevator pitch for it is that if you like Wong Kar-wai, you’ll almost certainly love this film. Not least because Tony Leung Chiu-Wai is a star, but the breathtaking visuals and fascinating story also make it incredibly compelling and enjoyable.

5. Three Colors: Red, dir. Krzysztof Kieślowski (1994)

This film is part of a trilogy, but it can be understood and viewed on its own. (Although you will get a lot more hidden meanings/little references by watching all three). I’m a sucker for French cinema generally, and this a film which is wonderfully odd without being at all pretentious, emotional without being sappy. Truly beautiful, as well, and, I must admit to having a crush on both Irène Jacobs and Jean-Louis Trintignant.

#not the stones #ask game #ask response #anonymous #thanks!#cinema

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edvinception · 2 years

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This was a long ass interview...

This is part 1

Winner of Zalando Rising star award, included on Forbes' prestigious 30 under 30 and 1,8 million followers on Instagram - things are going well for Edvin Ryding. We followed him along at Cannes movie festival.

The paparazzis are gathering behind the fence outside Hotel Martinez. For 100 years, the luxurious hotel has been a home for the rich and beautiful and when the most important film festival in the world takes place, all eyes are turning towards the old hotel. One of its guests Tom Cruise is in Cannes to promote his new movie, Top Gun: Maverick. Another one is Julia Roberts who is her to present an award.

Edvin ryding stands in the shadow of a palm and look at the hotel sign with wide eyes.

"It feels surreal," the 19 year old says before he makes an unexpected movie reference.

My only reference of Cannes is the Mr Bean movie. Just like me, Mr Bean wins a trip to the festival.

Given the huge spectacle were you only expect people like Fellini, Bergman and Coppolaz it's refreshing to hear Rydings comparison. And it's a good comparison. Just like Mr Bea, Edvin Ryding won the trip. The prize handed out my Zalando to new acting talents has previously been given to Alicia Vikander, Gustav Lindh, Alba August and Adam Lundgren.

I was shocked when I heard I had won. Since I've worked for a pretty long time I didn't see myself a rising star. More like an ongoing celestial body. So I felt extremely honoured and happy that I won. When they announced that I also were to go to Cannes it was hard to grasp.

How well does the Mr Bean movie reflect the real cannes experience?

Pretty well. In the movie, Cannes is portrayed like a paradise and it is. It's beautiful here, both visually and all the incredible people that are here.

So far, Edvin has only run between different meetings but he has seen one movie.

It's been pretty intense so far. But I've seen one movie. Boy from Heaven by Tarik Saleh who won for best script. It was an amazing movie experience. It really moved me.

#edvin ryding #edvinterview

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howardhawkshollywoodannex · 1 year

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Daniel Emilfork as Krank and Mireille Mosse as Mademoiselle Mosse in The City of Lost Children (1995). Dan was born in Santiago, Chile, and had 100 acting credits from a 1955 French tv movie to 2007.

His other notable credits include The Hunchback of Notre Dame (1956 with Anthony Quinn), Whats New Pussycat, The Liquidator, Travels with my Aunt, Fellini's Casanova, Who is Killing the Great Chefs of Europe?, and The Thief of Bagdad (1978 UK tv movie, as the genie).

#daniel emilfork #mirielle mosse #city of lost children

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mariacallous · 1 year

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The St. Petersburg-based Podpisnye Izdaniya (“Subscriber Editions”) bookstore is one of the best booksellers in Russia and a favorite destination for the city’s book lovers. Its co-founder, Mikhail Ivanov, has spoken with the independent media project Bumaga about the state of the Russian publishing industry, currently trapped between the vague censorship requirements of the new Russian anti-LGBTQ+ legislation and the growing list of banned authors designated as “foreign agents.” Ivanov has described a beleaguered and chaotic scene, where publishers are losing international contracts, booksellers are forced to pull bestselling books from their shelves, and writers are deprived of opportunities to publish their work in Russia. Meduza relates the bookseller’s reflections on what’s happening to the Russian book industry, in our own free and concise translation.

‘Liberal’ books and plastic wrap

The new censorship law against so-called LGBTQ+ “propaganda” is full of prohibitions, but doesn’t have any clear criteria for what’s permissible and what should be censored. Besides, we’re talking about tens of thousands of new titles — and the complete absence of any clarity about who is going to inspect them all for compliance with the law. It’s not all fiction, either: we also have non-fiction and scientific books — all of them vulnerable to the possibility that someone, somewhere, might take issue with a random word between the covers.

In this beleaguered book market, the authorities expect the publishers themselves to enforce the law by censoring their own output. Not to mention the absurd requirements like plastic packaging for any book that has some “adult” word in it. One appearance of the word “cock,” and the book is sealed in plastic. Are we being serious? Do we really imagine that a 16-year-old will not find a way to buy that book with a “cock” in it? He can buy alcohol and cigarettes — surely, he’ll buy that book, too. Back in the USSR, people also managed to find jeans to wear and bubble gum to chew.

We don’t participate in censorship at our bookstore. With our staff of 100 booksellers, each one with a personal opinion, you wouldn’t get very far with pulling an author like Boris Akunin, or Leonid Parfenov, or Lyudmila Ulitskaya, or Katya Gordeeva. It’s laughable to even think of it. We won’t pull any books — until our own spines are horizontal.

Periodically, we have visitors who tell us, “Look, all you have here are these liberal books.” Or they say, “your books are all about the war,” “your books are all about X.” This is just like beauty: all in the eye of the beholder. If this is what you notice, this is what you’ll see. And what you see will only be one percent of our 40,000 titles on all kinds of subjects, from Soviet furniture to Medieval herbaria.

If a book was written by a qualified, award-winning author, we’re going to sell it, regardless of her nationality, or his political views. Some customers might mistake our insistence on quality for censorship, and the difference can be hard to explain. Our internal policy is the policy of balance: we want to sell the best books possible, to the widest possible readership. We promote books — so that people would buy them and read them, since it’ll help other people publish more of them.

No more daring projects

Among our recently reissued books was Federico Fellini’s Making a Film. We spent a lot of time trying to find the Russian translator’s relatives who might have the rights to her translation, believed to be the best in existence. We secured the rights, and published our edition.

We also began to work with American prose, and with more ambitious prose in general. We published Lorrie Moore’s Birds of America, and it did very well, with good reviews and good sales. This made us feel that we had found the sweet spot, and brought something truly new and unique to our book market.

Quite soon, we’ll be releasing a new interpretation of Joseph Brodsky’s “Tugboat Ballad.” The verse is still the same, of course, but our illustrator Kasia Denisevich brought it to life in a completely new way.

Speaking of rights, Americans and Italians haven’t given us any problems here. Our problems are with the Brits, who are Ukraine’s main allies — while London is the greatest art editions hub in Europe. This is why we now have such a problem with art books. Some authors, too, have refused to work with Russians.

Given the costs of printing and the paper shortages, we cannot afford any more risk-taking. Publishers will now have to be maximally scrupulous in judging a book’s prospects. This means that we won’t have any more daring projects — books that a publisher might print at one’s own risk, hoping that they might take off and add flourish to a predictable book market, as it happened sometimes, in the past.

Keeping the readers close to the writers

I feel responsible for my staff, who are all crestfallen, to say the least. I think of them all as my children — in the sense that I want them all to be alright, the way a parent does. Before you can take care of customers, take care of your staff.

From our very first day, we positioned ourselves as a little island of safety amidst the drama of Liteyny Prospect, studded with bordellos, with the Mariinsky Hospital next door to ourselves. We wanted people to come into our bookstore — and feel good, forgetting all about what they left outside.

During the pandemic, we were very active on social networks, and our message to the community was this: “Friends, books are still around. You’re still around, and we’re still around. Let’s try to do something together, to go on living.” If this helped one or two people, I think it was all worth the trouble.

Our bookstore is arranged in such a way that you could easily spend a few hours and only see a small portion of what’s in stock. We still have customers who need to be told that we have a second floor. People come in to find some distraction from what’s happening and from their problems. I think it’s a good thing, and this is what we try to offer.

Recently, we opened up a book club. We had so many applications that we closed the registration five minutes after we opened it. When we hosted a “birthday” picnic in the Italian Garden behind our building, we had 7,000 visitors. We offer a creative writing course for teens, where 8–10 kids gather at the store and write together.

There are things, both in the book market and in the book world at large, that take time to come to fruition. Our book market is fairly stagnant to begin with: people talk about “implementing” some “state program for fostering readership” — but readership doesn’t grow from the top down. No one knows this better than booksellers and publishers do. But to reach people who may not yet know that they love books, booksellers and publishers need resources. They need freedom — and money.

We’re always trying to worry less, and to come up with new things to do together. This is how we find some peace of mind. If our bookstore is a success, it’s because the people who work here night and day are very deeply committed.

‘Our core customers had to leave’

Shipping books abroad became difficult as far back as the pandemic. The postal service wasn’t working; warehouses were closing. It used to be a very good income source, since shipping becomes more cost-effective in bulk, so people would order lots of things at once. Ukraine has a lot of intellectual non-fiction fans, who would read in Russian what hadn’t been published in Ukrainian. But around the same time as the pandemic, Ukraine passed a law to limit Russian book imports.

When we realized that 90 percent of our packages had been lost in transit or returned to us, we stopped offering international shipping. If someone asks us to send something abroad, we try to find a way, on a case-by-case basis. Payments from the West are also problematic. All in all, we now only work with Kazakhstan, Belarus, and Armenia, since they are serviced by the SDEK courier service and the Russian Post.

Many of our regular customers have left Russia. Now they tag us in photos from other bookstores. We sense that our core customers had to leave — and this is a tragedy for us all.

Like any retailer, we have our own analytics. So, if look at the 2022 bestsellers, people are interested in two things. They’re saying, “Help me understand what is happening.” And also: “Help me forget about it all.” They pick up novels — great big timeless novels. Or else, they look for answers.

When people look for information, they turn to books as a last resort, when they cannot what they’re looking for anywhere else. Books reassure people: information in a book is backed by the reputations of the author, the publisher, and the editors. A reader can glance at these credentials and decide whether to trust what’s between the covers.

But our daily visitor numbers are down by 15 percent. Considering the way the prices have crept up with the new taxes we’re paying, this is concerning. In our ten years in existence, we always saw growth and more growth. Until September, demand seemed fine, and sales were okay. But in October and November, our profits zeroed out. Some customers have left, others are saving their money — knowing that they will need that money very soon, and not for books.

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joaquinwhorres · 2 years

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Mobile OC List

Here's a list of my OCs! In order to help mitigate some expectations, I've created a little key to let you know what to expect content-wise for them.

CONTENT FLOW: 🟢 - Active / 🟡 - Slow / 🔴 - Stopped

MOTION SICKNESS UNIVERSE

🟢 Carolina Alvarez (❤ Mickey "Fanboy" Garcia — FC: Alexxis Demire)

🟢 Dalia Alvarez-Garcia (❤ David Floyd — FC: Isabella Ferriera)

PUSUIT OF HAPPINESS UNIVERSE

🟢 Audrey Herrera (❤ Javy "Coyote" Machado — FC: Melissa Barrera)

🟡 Lauren Kahale (❤ Bradley "Rooster" Bradshaw — FC: Lindsay Watson)

SEPARATE UNIVERSES

🟡 Katie "Birdie" Tindall (❤ Jake "Hangman" Seresin — FC: Aimee Teegarden)

AU CHARACTERS

🟢 Rosy Kovecky (❤ Steve Barton — FC: Laia Costa)

🟡 Kristina Taylor (❤ Bucky Barnes — FC: Flavia Santiago)

MCU CHARACTERS

🟢 Murphy (❤ Joaquin Torres — FC: Ludovica Martino)

🟡 Julia Schroeder (❤ Shang-Chi — FC: Olivia Liang)

🔴 Bronwen (❤ Loki — FC: Natasha Liu Bordizzo)

PARTING SHOT UNIVERSE

🟡 Kay Barton (❤ Steve Rogers — FC: Alicia Vikander)

🟡 Nat Barton (❤ None — FC: Taron Egerton)

🟡 Molly McKay (❤ Clint Barton — FC: Rebecca Hall)

🟡 Saoirse Nolan (❤ Bucky Barnes — FC: Carey Mulligan)

🟡 Grace Owens (❤ Peter Parker — FC: Zoey Deutch)

🟡 Iris Tate (❤ Pietro Maximoff — FC: Àstrid Bergès-Frisbey)

MIND OVER MATTER UNIVERSE

🟡 Leela Garcia (❤ Hector Garcia (OC) — FC: Hina Khan)

🟡 Rocio Garcia (❤ Miles Morales — FC: Reem Shaikh)

🟡 Mina Kaminski (❤ Bucky Barnes — FC: Melanie Chandra)

🔴 Sekai Williams (❤ Sam Wilson — FC: Lex Scott Davis)

NON POWERED CHARACTERS

🟢 Francesca Vives-Soler (❤ Diego Hargreeves — FC: Natalee Linez)

POWERED CHARACTERS

🟡 Maeve Walsh (❤ Ben Hargreeves — FC: Lize Ferryn)

🔴 Skye Williams (❤ Klaus Hargreeves — FC: Matthew Clevane)

🟢 Philippa Van Metre (❤ Stiles Stilinski — FC: Anjelica Bette Fellini)

MARAUDER ERA

🟡 Corinne Berenger (❤ Gideon Prewtt — FC: Hermione Corfield)

🟡 Soraya Hosseini (❤ Remus Lupin — FC: Golshifteh Farahani)

🟡 Florence Saise (❤ Sirius Black — FC: Gabriella Wilde)

GOLDEN TRIO ERA

🟢 Wren Collings (❤ Fred Weasley — FC: Annelise Judge)

🟢 Mattie Crenshaw (❤ George Weasley — FC: Nora Dari)

🟢 Nora Randolph (❤ Lee Jordan — FC: Casimere Jollette)

🔴 Bryony Hewitt (❤ George Weasley — FC: Taylor Russell)

🔴 Yaren Nacar (❤ None — FC:)

NEXT GENERATION

THE 100

🟡 Leta Cole (❤ Bellamy Blake — FC: Suki Waterhouse)

BIG TIME RUSH

🟡 Autumn Mayes (❤ Kendall Knight — FC: Bridget Satterlee)

🟡 Jemima Yeung (❤ Logan Mitchell — FC: Courtney Eaton)

CHARMED

🟡 Olivia Graham (❤ Chris Halliwell — FC: Camilla Belle)

THE COVENANT

🟡 Johanna Frye (❤ Reid Garwin — FC: Alexa Davalos)

GAME OF THONES

🔴 Iseld Cassel (❤ Theon Greyjoy — FC: Jona Walsh)

INCEPTION

🟡 Brigitte Thayer (❤ Arthur — FC: Gemma Arterton)

🔴 Sandrine Moreau (❤ Eames — FC: Stana Katic)

LORD OF THE RINGS

🟡 Estwyn (❤ Eomer — FC: ?)

🟡 Sírainel (❤ Haldir — FC: ?)

STAR TREK UNIVERSE

🟡 Priyanka Joshi (❤ Leonard McCoy — FC: Nazneen Contractor)

🔴 Keyona Hale (FC: Gugu Mbatha Raw)

🔴 Meia Kwan (FC: Catherine Haena Kim)

🔴 Elizabeth Mackenzie (❤ Scotty — FC: Jules Wilcox)

BOHEMIAN RHAPSODY

🔴 Jill Fletcher (❤ Roger Taylor — FC: Felicity Jones)

🔴 Eleanor Grey (❤ Brian May — FC: Sophie Skelton)

🔴 Sylvia Tyler (❤ John Deacon — FC: Margarita Levieva)

CHILLING ADVENTURES OF SABRINA

🔴 Edith Farrington (FC: Morgan Taylor Campbell)

🔴 Matilda Goode (FC: Elise Gatien)

🔴 Vanessa Scratch

LOGAN

🔴 Theresa Ramos (❤ Donald Pierce — FC:Veronica Echeguí)

KNIVES OUT

🔴 Aster Hearst (❤ Ransom Drysdale — FC: Inbar Lavi)

🔴 Grace Reyes (❤ Ransom Drysdale)

RIVERDALE

🔴 Bree Reilly (❤ Sweet Pea — FC: Ella Purnell)

🔴 Roxanne Roy (❤ Sweet Pea — FC: Holland Roden)

🔴 Sage Saylor (❤ Reggie Mantle — FC: Malia McMullen)

STRANGER THINGS

🔴 Wendy Buckley (❤ Steve Harrington — FC: Annie Kreighbaum)

🔴 Kimberly Finch (❤ Billy Harrington — FC: Matilda Lutz)

🔴 Louisa Mitchell (❤ Steve Harrington — FC: Maika Monroe)

UNDRAFTED

🔴 Ginny Hickey (❤ Pat Murray — FC:Anna Chlumsky)

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