Gian Piero Capretto, Ramona Fiorini, Melochiorre Pala, Josh O’Connor, Luca Gargiullo, Vincenzo Nemolato, and Lou Roy LecollinetPhoto: Neon
The past is so close you can almost touch it in Alice Rohrwacher’s romantic treasure hunt, La Chimera. Set in the liminal space between living and dying, better known as the Italian countryside,...
The past is so close you can almost touch it in Alice Rohrwacher’s romantic treasure hunt, La Chimera. Set in the liminal space between living and dying, better known as the Italian countryside,...
- 3/27/2024
- by Matt Schimkowitz
- avclub.com
Italian director Alice Rohrwacher, whose “The Wonders” and “Happy as Lazzaro” are both Cannes prizewinners, will direct her first TV series that, similarly to her fable-like films, will explore the world of Italian folk tales.
The series, which is scheduled to start shooting next year, is titled “Ci Sarà Una Volta,” which translates as “There Will Be a Time.” Casting and other details are still being decided.
Rohrwacher is back in Cannes this year as co-director with Pietro Marcello and Francesco Munzi of the doc “Futura,” a portrait of how Italy’s adolescents look at the future which world premieres in Directors’ Fortnight on Monday.
“There Will Be a Time” is being produced by Fremantle-owned Wildside, the shingle behind Elena Ferrante adaptation skein “My Brilliant Friend” — of which Rohrwacher helmed two episodes of season two — in tandem with the director’s regular producer Carlo Cresto-Dina’s Tempesta Film.
The...
The series, which is scheduled to start shooting next year, is titled “Ci Sarà Una Volta,” which translates as “There Will Be a Time.” Casting and other details are still being decided.
Rohrwacher is back in Cannes this year as co-director with Pietro Marcello and Francesco Munzi of the doc “Futura,” a portrait of how Italy’s adolescents look at the future which world premieres in Directors’ Fortnight on Monday.
“There Will Be a Time” is being produced by Fremantle-owned Wildside, the shingle behind Elena Ferrante adaptation skein “My Brilliant Friend” — of which Rohrwacher helmed two episodes of season two — in tandem with the director’s regular producer Carlo Cresto-Dina’s Tempesta Film.
The...
- 7/10/2021
- by Nick Vivarelli
- Variety Film + TV
Other winners include Italian star Sophia Loren and two Netflix features.
Giorgio Diritti’s Hidden Away was the big winner at Italy’s David di Donatello awards on Tuesday (May 11), winning seven awards including best picture, best director and lead actor for Elio Germano.
The drama, which chronicles the difficult life of Italian painter Antonio Ligabue, is produced by Palomar with Rai Cinema, and premiered at the 2020 Berlinale, where Elio Germano won the Silver Bear for best actor. The film, which was the frontrunner going into the night with 15 nominations, also picked up prizes for cinematography, hair artist and sound.
Giorgio Diritti’s Hidden Away was the big winner at Italy’s David di Donatello awards on Tuesday (May 11), winning seven awards including best picture, best director and lead actor for Elio Germano.
The drama, which chronicles the difficult life of Italian painter Antonio Ligabue, is produced by Palomar with Rai Cinema, and premiered at the 2020 Berlinale, where Elio Germano won the Silver Bear for best actor. The film, which was the frontrunner going into the night with 15 nominations, also picked up prizes for cinematography, hair artist and sound.
- 5/12/2021
- by Gabriele Niola
- ScreenDaily
Giorgio Diritti’s biopic “Hidden Away,” about crazed primitivist painter Antonio Ligabue, was the big winner at Italy’s 66th David di Donatello Awards, the country’s top film prizes.
The Davids were held with an in-person ceremony aired from two venues amid a strong spirit of restart as Italian movie theaters gradually begin to reopen.
“Hidden Away,” which was the frontrunner with 15 nominations, scored seven statuettes including best picture, director and actor honors won by Elio Germano who tackles “the fiendishly difficult role” of the self-taught artist “with customary gusto,” as Variety critic Jay Weissberg noted in his review.
The best actress statuette went to Sophia Loren for her role as Madame Rosa, a former prostitute and Holocaust survivor, in Netflix Original “The Life Ahead,” directed by her son Edoardo Ponti. The Italian icon’s return to the big screen after a decade had been snubbed by the Oscars earlier this year.
The Davids were held with an in-person ceremony aired from two venues amid a strong spirit of restart as Italian movie theaters gradually begin to reopen.
“Hidden Away,” which was the frontrunner with 15 nominations, scored seven statuettes including best picture, director and actor honors won by Elio Germano who tackles “the fiendishly difficult role” of the self-taught artist “with customary gusto,” as Variety critic Jay Weissberg noted in his review.
The best actress statuette went to Sophia Loren for her role as Madame Rosa, a former prostitute and Holocaust survivor, in Netflix Original “The Life Ahead,” directed by her son Edoardo Ponti. The Italian icon’s return to the big screen after a decade had been snubbed by the Oscars earlier this year.
- 5/11/2021
- by Nick Vivarelli
- Variety Film + TV
There’s a scene in the middle of Hal Hartley’s 1992 indie “Simple Men” where a cryptic brunette played by gamin actress Elina Löwensohn — ice-pale, with blunt black bangs — interrupts the plot with a choreographed dance number to a fuzzy track by Sonic Youth. Hartley wanted to break the fourth wall, and here comes filmmaker Chiara Malta (who co-wrote the script with Sébastien Laudenbach and Marco Pettenello) to smash his rubble into dust with her playful narrative debut.
“Simple Women” spins that musical moment into a dizzying story about ambition and artistic competition in which Löwensohn plays herself as the object of obsession for an aspiring Italian director named Federica (Jasmine Trinca), who’s been fixated on Löwensohn’s “Simple Men” character since the ’90s for making epilepsy look glamorous. That Federica wears owl-eyed glasses that make her the mirror image of Malta is no coincidence in a movie that...
“Simple Women” spins that musical moment into a dizzying story about ambition and artistic competition in which Löwensohn plays herself as the object of obsession for an aspiring Italian director named Federica (Jasmine Trinca), who’s been fixated on Löwensohn’s “Simple Men” character since the ’90s for making epilepsy look glamorous. That Federica wears owl-eyed glasses that make her the mirror image of Malta is no coincidence in a movie that...
- 9/13/2019
- by Amy Nicholson
- Variety Film + TV
Produced by K+, Alberto Rizzi’s debut feature is set against the 2012 earthquake in Emilia and stars Alessandro Roja and Alessandra Mastronardi. Shooting has now wrapped on Si muore solo da vivi, the first full-length film by Alberto Rizzi, already a playwright, theatre director and author of short films. Filmed in Gualtieri (in the Reggio Emilia region of Italy) and written by the director in league with Marco Pettenello, the movie promises to be a romantic comedy full of colour and emotion, unfolding during the 2012 earthquake which rocked the region of Emilia and starring Alessandro Roja (recently seen at the Italian box office in Ma cosa ci dice il cervello and on the small screen in La compagnia del cigno) and Alessandra Mastronardi (whose latest works include L’agenzia dei bugiardi and the TV series Medici: Masters...
Another title In Competition for Golden Lion at Venice Film Festival 2010.
Next project that we’re going to talk about is movie titled La Passione or if you prefer The Passion from Italian director Carlo Mazzacurati who was in charge for the script as well, together with Umberto Contarello, Doriana Leondeff and Marco Pettenello.
Check out the La Passione synopsis: “When you’re over fifty, it becomes increasingly difficult to be an up-and-coming director. Gianni Dubois knows this only too well. He hasn’t made a film for years, and now that he has the chance to direct a young TV star he can’t even think up an idea for a story.
As if this wasn’t enough, a leak in his apartment in Tuscany has ruined the 16th-century fresco in the chapel next door. To avoid being sued and publicly shamed, Gianni must accept the bizarre proposal of...
Next project that we’re going to talk about is movie titled La Passione or if you prefer The Passion from Italian director Carlo Mazzacurati who was in charge for the script as well, together with Umberto Contarello, Doriana Leondeff and Marco Pettenello.
Check out the La Passione synopsis: “When you’re over fifty, it becomes increasingly difficult to be an up-and-coming director. Gianni Dubois knows this only too well. He hasn’t made a film for years, and now that he has the chance to direct a young TV star he can’t even think up an idea for a story.
As if this wasn’t enough, a leak in his apartment in Tuscany has ruined the 16th-century fresco in the chapel next door. To avoid being sued and publicly shamed, Gianni must accept the bizarre proposal of...
- 9/11/2010
- by Fiona
- Filmofilia
RomaCinemaFest
ROME -- Carlo Mazzacurati's The Right Distance may not be the director's best film, but is stronger and tighter than what he's produced in the last decade. An inconsistent director, Mazzacurati does warm to making movies about marginalized characters without dipping too far into the syrupy posturing that passes as small-town nostalgia in much of today's Italian cinema. Despite overreaching ambitions, word-of-mouth and positive local reviews could help boost figures as it carves out an arthouse niche for itself. Released in Italy by 01 Distribution on October 20, the day after its RomeCinemaFest screening, it modestly grossed under half a million euros in its first week.
This film opens with a spectacularly sunny and sweeping shot of the lush countryside along the banks of the River Po, the best camerawork by an otherwise underused Luca Bigazzi. It then homes in on a bus carrying -- we are told through a young man's voiceover -- Mara (Valentina Lodovini), the pretty elementary school substitute teacher who will change his life forever, to his sleepy town of Concadalbero.
A loner who recently lost his mother, 18 year-old Giovanni (Giovanni Capovilla, making an impressive feature debut) tells us about his first "adult" crush on 30 year-old Mara, along the way providing background information on Concadalbero and its inhabitants.
Giovanni is a budding journalist obsessed with a recent rash of serial dog killings. He lands a job writing anonymously for a local paper, whose stereotypically cantankerous editor (Mazzacurati regular Fabrizio Bentivoglio) tells him to always keep the "right distance" between himself and a story -- not too far so as to lose empathy, not too close so as to become emotionally involved.
The story then shifts to Mara, who in emails to a friend back in Florence exalts the peace of rural living but complains that pickings are slim among the local men. The Only Ones interested are philandering tobacconist Amos (Giuseppe Battiston, who picked up a best acting award at the Fest for his performance) and Hassan (Ahmed Hafiene), a Tunisian mechanic who spies on Mara from the woods by her house, and is in turn spied on by Giovanni.
After catching Hassan in the act, Mara first scorns him but is won over by his gentle shyness and they begin dating. He falls hard, yet she is just passing through, en route to more gratifying work in Brazil.
Just when you think that apart from their personal drama, and the disturbing canine slayings, nothing much happens in Concadalbero -- even the racism endured by many immigrants in Italy seems relatively benign here -- an unexpected brutal murder turns the film into a whodunit in the third, and weakest, act.
Throughout the music by San Francisco acoustic chamber trio Tin Hat is appropriately haunting but Distance ultimately stretches itself thin. Two of its plot threads -- the poignant tale about growing up in Anytown, Italy and the unfulfilled love story -- are almost overshadowed by a facile courtroom drama and investigation that belie the emotional realism of the first two thirds of the film. Which is a shame, because what lies beneath is a compelling story on how human triumphs and tragedies stem, in equal measure, from our inability to maintain the right distance in life.
THE RIGHT DISTANCE
Fandango, RAI Cinema
Credits:
Director: Carlo Mazzacurati
Writers: Carlo Mazzacurati, Doriana Leondeff, Marco Pettenello, Claudio Piersanti
Producer: Domenico Procacci
Director of photography: Luca Bigazzi
Production designer: Giancarlo Basili
Music: Tin Hat
Costume designer: Francesca Sartori
Editor: Paolo Cottignola
Cast:
Giovanni: Giovanni Capovilla
Mara: Valentina Lodovini
Hassan: Ahmed Hafiene
Amos: Giuseppe Battiston
Bencivegna: Fabrizio Bentivoglio
Bolla: Roberto Abbiati
Franco: Natalino Balasso
Guido: Stefano Scandaletti
Running time -- 107 minutes
No MPAA rating...
ROME -- Carlo Mazzacurati's The Right Distance may not be the director's best film, but is stronger and tighter than what he's produced in the last decade. An inconsistent director, Mazzacurati does warm to making movies about marginalized characters without dipping too far into the syrupy posturing that passes as small-town nostalgia in much of today's Italian cinema. Despite overreaching ambitions, word-of-mouth and positive local reviews could help boost figures as it carves out an arthouse niche for itself. Released in Italy by 01 Distribution on October 20, the day after its RomeCinemaFest screening, it modestly grossed under half a million euros in its first week.
This film opens with a spectacularly sunny and sweeping shot of the lush countryside along the banks of the River Po, the best camerawork by an otherwise underused Luca Bigazzi. It then homes in on a bus carrying -- we are told through a young man's voiceover -- Mara (Valentina Lodovini), the pretty elementary school substitute teacher who will change his life forever, to his sleepy town of Concadalbero.
A loner who recently lost his mother, 18 year-old Giovanni (Giovanni Capovilla, making an impressive feature debut) tells us about his first "adult" crush on 30 year-old Mara, along the way providing background information on Concadalbero and its inhabitants.
Giovanni is a budding journalist obsessed with a recent rash of serial dog killings. He lands a job writing anonymously for a local paper, whose stereotypically cantankerous editor (Mazzacurati regular Fabrizio Bentivoglio) tells him to always keep the "right distance" between himself and a story -- not too far so as to lose empathy, not too close so as to become emotionally involved.
The story then shifts to Mara, who in emails to a friend back in Florence exalts the peace of rural living but complains that pickings are slim among the local men. The Only Ones interested are philandering tobacconist Amos (Giuseppe Battiston, who picked up a best acting award at the Fest for his performance) and Hassan (Ahmed Hafiene), a Tunisian mechanic who spies on Mara from the woods by her house, and is in turn spied on by Giovanni.
After catching Hassan in the act, Mara first scorns him but is won over by his gentle shyness and they begin dating. He falls hard, yet she is just passing through, en route to more gratifying work in Brazil.
Just when you think that apart from their personal drama, and the disturbing canine slayings, nothing much happens in Concadalbero -- even the racism endured by many immigrants in Italy seems relatively benign here -- an unexpected brutal murder turns the film into a whodunit in the third, and weakest, act.
Throughout the music by San Francisco acoustic chamber trio Tin Hat is appropriately haunting but Distance ultimately stretches itself thin. Two of its plot threads -- the poignant tale about growing up in Anytown, Italy and the unfulfilled love story -- are almost overshadowed by a facile courtroom drama and investigation that belie the emotional realism of the first two thirds of the film. Which is a shame, because what lies beneath is a compelling story on how human triumphs and tragedies stem, in equal measure, from our inability to maintain the right distance in life.
THE RIGHT DISTANCE
Fandango, RAI Cinema
Credits:
Director: Carlo Mazzacurati
Writers: Carlo Mazzacurati, Doriana Leondeff, Marco Pettenello, Claudio Piersanti
Producer: Domenico Procacci
Director of photography: Luca Bigazzi
Production designer: Giancarlo Basili
Music: Tin Hat
Costume designer: Francesca Sartori
Editor: Paolo Cottignola
Cast:
Giovanni: Giovanni Capovilla
Mara: Valentina Lodovini
Hassan: Ahmed Hafiene
Amos: Giuseppe Battiston
Bencivegna: Fabrizio Bentivoglio
Bolla: Roberto Abbiati
Franco: Natalino Balasso
Guido: Stefano Scandaletti
Running time -- 107 minutes
No MPAA rating...
- 11/2/2007
- The Hollywood Reporter - Movie News
ROME -- Giorgio Fabbri's "Luglio '80" (July '80) and Andrea Prandstraller and Marco Pettenello's "Nudi alla meta" (Nudes in the Middle) are the finalists for the 22nd Solinas Screenwriting prize, officials said Thursday.
The prize will be awarded at the RomaCinemaFest this year, marking the first time the Solinas award has been associated with a major film festival. The award will be presented Oct. 24, three days before the end of the Oct. 18-27 Rome festival.
The prize is presented each year to honor excellence in Italian screenwriting and has in the past been the first to honor some up-and-coming screenwriters who went on to international honors later in their careers.
Founded in 1985, the Solinas Awards -- named for the Oscar-nominated Italian screenwriter Franco Solinas, who died in 1982 -- have been presented in several locations around Italy during their 22-year history.
The prize will be awarded at the RomaCinemaFest this year, marking the first time the Solinas award has been associated with a major film festival. The award will be presented Oct. 24, three days before the end of the Oct. 18-27 Rome festival.
The prize is presented each year to honor excellence in Italian screenwriting and has in the past been the first to honor some up-and-coming screenwriters who went on to international honors later in their careers.
Founded in 1985, the Solinas Awards -- named for the Oscar-nominated Italian screenwriter Franco Solinas, who died in 1982 -- have been presented in several locations around Italy during their 22-year history.
- 10/12/2007
- The Hollywood Reporter - Movie News
- Pictured above: Laurence Kardish (MoMa) Antonio Monda (Nyu), Giampoalo Letta (Medusa Films), Salvatore Ferragamo (Ferragamo), and Mario Sesti (Film Critic) MoMA has done it again. Another tribute to Italian Cinema has arrived at the Museum of Modern Art. Following the tribute to Antonio Capuano and the tribute to Gianni Amelio, MoMA has hooked up with Medus Films and Salvatore Ferragamo to celebrate Medusa Film’s 10th Anniversary. As I was sitting in at the press conference for this event, I looked on stage and saw Ettore Scola. I turned to my right and saw Dario Argento. I look behind me and saw Paolo Sorrentino. I looked in front of me and saw Stefano Accorsi. It was the who’s who of Italian Cinema yesterday and today. To celebrate the 10th Anniversary of the production and distribution company Medusa, the president of Medusa donated 14 of their most popular titles to
- 1/20/2006
- IONCINEMA.com
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