#uberto pasolini

[geekvibesnation]

#uberto pasolini

[cinemaquiles]

Seria esse o filme mais bizarro, doentio e polêmico de todos os tempos?

#Pier Paolo Pasolini #Salo o le 120 giornate di Sodoma #120 Days of Sodom #salo #sade #Paolo Bonacelli #Giorgio Cataldi #Aldo Valletti #Uberto Paolo Quintavalle #liana acquaviva #Guido Galletti #italian movie #polemic movie #sergio fascetti #tatiana mogilansky #Franco Merli #Marquis de Sade #Youtube

[ilpontesulperati]

Pier Paolo Pasolini in conversation with actor Claudio Troccoli, behind the scenes of shooting the final cut of Salò, 120 Days of Sodom.

Claudio and Pasolini’s relationship was of an affectionate affinity, however Troccoli, along with fellow comrades Franco Merli and Ezio Manni were consistently ushered into Pasolini’s room after filming, which spiralled homosexual connotations on set in-between takes. Claudio, albeit already had several difficulties with himself and whole identity, which he held under a calm, happy-go-lucky exterior. Despite these troubling insecurities, Troccoli was stated by Uberto Paolo Quintavelle to a boy with ‘a heart of gold’, full of sympathy, generosity, and presumably an empathetic soul, good at comforting those in need to vent.

#claudio troccoli #pier paolo pasolini #salò #salo #salò or the 120 days of sodom #120 days of sodom

[batri-jopa]

I've been asked (hi there, @notasapleasure) to say what I think about the movie Wet Sand / სველი ქვიშა (2021, dir. Elene Naveriani) once I see it. I watched it recently and actually like to share my feelings with someone so...

My impressions follows:

Inspiration by the greatest ancient classics such as Antigone by Sophocles in modern popular culture is rare and always welcomed

Even more praise for showing love among elderly people - which somehow needs even more courage than showing young queers

I believe if the movie was more mainstream this jacket would go viral

Making the same actor saying similar text as in And Then We Danced seemed somewhat cheap to me at first, but then I thought it was kind of winking to ATWD fans: "Hello, we know you're there!" - so okey, that was kind of nice...

...and besides obvious similarity - the line still sounded different due to its intentions and conditions. So might it be condidered some kind of polemic with ATWD line even?

I really liked the way the title never was explained directly "in your face" - yet somewhere in the end you are shown a wave coming and going over the sand: leaving it wet, then slowly drying, then wet again, and again, repeatedly... And suddenly you realise how much it fitted the character's life

I wonder if the girl's comment on the photo (that was not itself shown to the audience) was a hint of that person being trans? (it was something like "beautiful as his mother" but I don't remember exactly)

The scene with the letter and the wine bottle has the potential to make me cry my eyes out everytime I think about it... (because yeah I definitely needed to elongate my "sob-on-demand" list, thank you movie makers...)

Yes of course I am going to compare Wet Sand and And Then We Danced even though such comparison can ONLY be justified by the fact that those are only two georgian movies I know and both happen to be queer

Best thing is that those are two very different and independent stories😋

I've seen some reviews complaining that in ATWD there were too many social issues at once, suggesting like it was forced or something... But it is Wet Sand that is literally overfilled with those, not only homophoby but also domestic violence and generally intolerance and prejudice toward everyone and everyone a bit different than the rest of the conservative community.

And no matter the kind of "happy ending" that was in Wet Sand and not so much in ATWD (more "open ending" it was than a "happy" one) - still to me ATWD felt a tiny bit more hopeful. Alright, the film concentrating on death and funeral obviously had no chances of being overall optimistic. Especially when ATWD was showing the point of view of joyful freeminded young people who still have hopes and chances for the better life before them. And we were not shown any really terrible scenes there, only hearing about poor Zaza, like it was just gossip and not a person of flesh and bones. Also I think when living in the capital city one may count on more support from community of people alike - simply because the community is larger and stronger than a tiny group of "outcasts" in the province can ever be.

There's a short description of Wet Sand on IMDB using a phrase "friendly people" and now after watching the movie it makes me feel sick to see it...🤢

...especially as some of the most terrifying acts of those "friendly people" so much reminded me of Aftermath / Pokłosie (2012) dir. Władysław Pasikowski...

...but still one of their most horrible actions - accidentaly turned out to be the right thing to do - so that was kind of a spark (nomen omen) of hope

So generally it was a good movie. Maybe not a great one. But definitely GOOD.

And, when I think about it, it reminds me of so many other good and great movies I know and would gladly recommend to anyone interested (most of them also being on my "sob-on-demand" list BTW)

Organising funeral of a lonely man a bit like in Still life (2013, dir. Uberto Pasolini)

A story about relationship and loss seems like a reversed version of the one shown in A Single man (2009, dir. Tom Ford) (my very favorite queer-themed movie before watching ATWD, now my second favorite)

Of course a bit of similarity to Brokeback Mountain (2005) dir. Ang Lee as well

And The Bridges of Madison County (1995) dir. Clint Eastwood too...

Departures / Okuribito (2008) dir. Yôjirô Takita is a similar not only because of the burial theme but also the atmosphere. No kidding, when watching Wet Sand I felt like watching a japanese movie, only with strangly not-japanese looking actors in it.

And that will be it for now.

#cinemaniac off the leash #sob-on-demand list #wet sand #სველი ქვიშა #georgian cinema #ATWD #queer movies #and then we danced #lgbt movie #gay movies #lesbian movies #LGBTQ #lgbtqia #lgbtqplus

[dontcxckitup]

#//AAAAAAAAAAAAAAHHHHHHHHHHHHHHHHH

[deadlinecom]

[666tchort666]

Nowhere Special Review: Uberto Pasolini Crafts an Understated, Joyful Tearjerker

http://dlvr.it/T62nsP

[thisfunktional]

#IFTTT #Blogger #Entertainment #entertainment news #in theater #in theater news #Movie #movie news

[denimbex1986]

'Everyone lives for themselves How lonely and alone are people actually, throughout their lives and in the sometimes fast, sometimes slow stream of decades? What is just a facade, what is imagination, and how much do you need others to feel safe? Answering these questions often seems uncomfortable. Because they convey facts as light that no one wants to recognize. Filmmakers, among others, also ask themselves these questions and discuss in very different ways what being alone can feel like. Man comes into the world alone, interacts with others during his life, relies on his mother and father when things go well, later on the human being, if one can be found, and then, alone, leaves this world again. Encounters and belonging to others create the drive you need to keep going. If this component is missing, there is at least the hope that it could one day become that way. In Uberto Pasolini's Mr. May or the Whisper of Eternity, the loneliness of man in the midst of people is staged as a deeply sad, almost defeatist requiem that tightens your throat. David Lowery stirs up the pain of remembering and getting lost in the memories of a past life, both the living and the dead, with his metaphysical meditation A Ghost Story. In these films, people are asked to endure their existence - and also death - in the awareness that they will always remain alone with the fact of their existence because they cannot share their own existence. Because it is what you have.

This existentialism in the film allows Andrew Haigh to dream a big city dream in which the boundaries between reality and imagination dissolve right from the start. At the center of the psychogram, surrounded by a social vacuum, is a man named Adam, who lives in an apartment building floating above the London skyline that is almost empty. Adam is therefore a lonely cosmonaut who looks down on the million-dollar hustle and bustle of a big city without belonging. He is alone and lonely, listless, lost in thought, drained of the energy of the sunrise, which, it happens, puts on its show for him alone. Neighbor Harry (Paul Mescal), who rings his doorbell one evening, is also isolated and disconnected from a life of togetherness. At first Adam prefers no contact, but a short time later, after it becomes clear that both are queer and feel affection for each other, a tentative relationship develops that is always interrupted by a miraculous fact that reconjugates time and space. Because Adam, who lost both parents in a car accident when he was twelve, gets the opportunity to see his mother and father again. All he has to do is go to his childhood home and everything is suddenly the same again, as if Adam were twelve again. But he isn't, and his parents also know this, as they are aware that he has long since died.

What you wouldn't give to be able to say again to loved ones who have left us what you always wanted to say, to be able to ask again what you always wanted to ask. And just didn't have the opportunity anymore. This opportunity is revealed to Adam and he takes advantage of it. He says goodbye again, can hug his parents again, sort things out and tell them how things have been going for him since then. Andrew Scott gives the lonely person who cannot overcome the pain of loss and is afraid of suffering new ones, with a vulnerable intensity that makes you feel like you have known him for a long time. What he feels becomes palpable, because they are emotions that we are all familiar with. All of Us Strangers becomes an immersive soul journey to a primal fear bathed in colored light, protected by the cloak of repression. Haigh tears this one down. Ecce homo, you think you hear him say. And there he is, this Adam, a lonely human being, torn between longing, farewell and overcome by a desire to travel into his inner self.

Perhaps, some might criticize, All of Us Strangers indulges in an exaggerated sadness. I think emotions like these are too real to be called kitsch. Filming may not have been easy, but Scott seems to have remembered some of the painful experiences in his life. Haigh's film is hard to beat in terms of intimacy and closeness, is surreal, full of dream sequences and memories, immersed in color spectrums and accompanied by a hypnotizing score that leaves room for classics like The Power of Love by Frankie goes to Hollywood and this one finally from the Christmas Playlist deleted. All of Us Strangers is a close-up experience and a psychological trip, perhaps even a ghost story, but certainly not light fare and leaves a heavy, I don't want to say sentimental, but wistful feeling; a lump in the throat, a pressure on the chest. Haigh's film is not liberating, but it is exhilarating and beautiful in its epic exploration of existence, which consists of loss and search. The film has no hope, but a lot of insight. Above all, longing can also mean security.'

#All of Us Strangers #Andrew Haigh #Andrew Scott #The Power of Love #Frankie Goes to Hollywood #Paul Mescal

[paoloferrario]

Still life (Gran Bretagna / Italia, 2013, 87 minuti) di Uberto Pasolini

Still life (Gran Bretagna / Italia, 2013, 87 minuti) di Uberto Pasolini con Eddie Marsan, JoanneFroggatt, Karen Drury, Andrew Buchan e Ciaran McIntyre John May è un funzionario comunale dedicato alla ricerca dei parenti di persone morte in solitudine. Diligente e sensibile, John scrive discorsi celebrativi, seleziona la musica appropriata all’orientamento religioso del defunto, presenzia ai…

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[newssy]

Ralph Fiennes & Juliette Binoche To Reunite After 25 Years For 'The Return' Based On Homer's 'The Odyssey [Reports]

Ralph Fiennes, Juliette Binoche To Reunite For Re-Telling Of Homer’s Classic(Pic Credit: Instagram, Wikipedia) Twenty-five years after ‘The English Patient’, Ralph Fiennes and Juliette Binoche are reuniting for ‘The Return’, an Italy-Greece-UK-France co-production based on Homer’s ancient Greek classic, ‘The Odyssey’, reports ‘Variety’. Directed by Academy Award nominee Uberto Pasolini, ‘The…

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[suchananewsblog]

Bleecker Street Acquires Ralph Fiennes-Juliette Binoche Starrer ‘The Return’ For North America

Bleecker Street has picked up North American distribution rights to Ralph Fiennes and Juliette Binoche historical epic The Return on the eve of the European Film Market. The project, which is directed by Uberto Pasolini, is based on Homer’s ancient classic The Odyssey.  It marks the first time Fiennes and Binoche have worked together since they starred in Oscar-winning title The English…

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[arun-pratap-singh]

Bleecker Street Buys ‘The Return’ with Ralph Fiennes, Juliette Binoche – The Hollywood Reporter

In one of the first domestic deals ahead of this year’s Berlin European Film Market, Bleecker Street has picked up North American rights to The Return, an historical epic based on Homer’s ancient classic The Odyssey and starring Ralph Fiennes and Juliette Binoche. Uberto Pasolini (Nowhere Special, The Full Monty) will direct the feature from a script he co-wrote with Edward Bond (Blow-Up,…

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[awardseasonblog]

#RalphFiennes e #JulietteBinoche si ritrovano sul set a distanza di 27 anni dal pluripremiato Il paziente inglese. I due guidano il cast del film #TheReturn di Uberto Pasolini (Nowhere Special, Still Life). Si tratta di una rivisitazione dell'epico poema greco di Omero L'Odissea. Le riprese inizieranno nel 2023. Intanto la HanWay Films è entrata a far parte delle vendite mondiali che inizieranno a Cannes il mese prossimo. #ProjectNews https://www.instagram.com/p/Cc8VXK2s5Z3/?igshid=NGJjMDIxMWI=

#ralphfiennes #juliettebinoche #thereturn #projectnews

[apocalypticmovierp]

Juliette Binoche & Ralph Fiennes Reunite For ‘The Return,’ A Gritty Take On ‘The Odyssey’ From Uberto Pasolini

An “English Patient” reunion is finally on the horizon, as co-stars Juliette Binoche and Ralph Fiennes are attached for a new “gritty take” on the beloved ancient Greece tale Homer‘s “The Odyssey,” according to Variety. The original epic focuses on a war-wary husband that sets sail to return home to his wife and son after the Trojan War. However, Odysseus and his crew keep running into obstacles on that mission thanks to the gods, a giant cyclops, a witch that turns men into animals, and shipwrecking sirens that use their haunting songs to kill sailors.

Continue reading Juliette Binoche & Ralph Fiennes Reunite For ‘The Return,’ A Gritty Take On ‘The Odyssey’ From Uberto Pasolini at The Playlist.

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#IFTTT #The Playlist #movietvshow21.stream #watch movies online #watch movies

[jamesginortonblog]

James Norton and Uberto Pasolini were guests at the screening of Nowhere Special for Winston's Wish charity, at Curzon Bloomsbury in London, 14 October 2021

#james norton #uberto pasolini #nowhere special