Sky has unveiled the official trailer for the fifth and final season of “Gomorrah,” Italy’s cult crime series produced by Sky Studios and ITV-owned Cattleya in collaboration with Germany’s Beta Film, which is the show’s international distributor.
“Gomorrah” 5 is set to air locally on Nov. 19 after world premiering as the closing event of the CannesSeries fest on Oct. 13. The show is based on an idea by Italian writer Roberto Saviano who wrote a best-selling mob exposé by the same title.
The final instalment of the hyper-realistic skein, which is Italy’s biggest TV export, will bow on Sky in Germany in December, and in the U.K. later this year. “Gomorrah” will soon also be coming to HBO Max in the U.S., home to the previous four “Gomorrah” seasons as well as the show’s spin-off film “The Immortal,” which is an integral part of the narrative.
“Gomorrah” 5 is set to air locally on Nov. 19 after world premiering as the closing event of the CannesSeries fest on Oct. 13. The show is based on an idea by Italian writer Roberto Saviano who wrote a best-selling mob exposé by the same title.
The final instalment of the hyper-realistic skein, which is Italy’s biggest TV export, will bow on Sky in Germany in December, and in the U.K. later this year. “Gomorrah” will soon also be coming to HBO Max in the U.S., home to the previous four “Gomorrah” seasons as well as the show’s spin-off film “The Immortal,” which is an integral part of the narrative.
- 9/24/2021
- by Nick Vivarelli
- Variety Film + TV
Name and focus changes for every section, which are now all competitive, resulting in the festival’s structure being “slimmer’.
The ninth Rome Film Festival (Oct 16-25) has revealed a diverse line-up including the Italian premieres for potential awards contenders including David Fincher’s Gone Girl. the world premiere of Takashi Miike’s As the Gods Will and Burhan Qurbani’s We are Young, We are Strong and European premiere of Oren Moverman’s Time Out of Mind, Toronto hit Still Alice and Kahlil Gibran’s The Prophet.
This year for the first time the award-winners in each section of the programme will be decided by the audience on the basis of votes cast after the screenings.
Each section has changed name and focus for 2014 and are all competitive, resulting in the festival’s structure being “slimmer’.
Italian comedies Soap Opera and Andiamo a Quel Paese bookend the line-up.
Full line-up
Cinema D’Oggi
World premiere
• Angely...
The ninth Rome Film Festival (Oct 16-25) has revealed a diverse line-up including the Italian premieres for potential awards contenders including David Fincher’s Gone Girl. the world premiere of Takashi Miike’s As the Gods Will and Burhan Qurbani’s We are Young, We are Strong and European premiere of Oren Moverman’s Time Out of Mind, Toronto hit Still Alice and Kahlil Gibran’s The Prophet.
This year for the first time the award-winners in each section of the programme will be decided by the audience on the basis of votes cast after the screenings.
Each section has changed name and focus for 2014 and are all competitive, resulting in the festival’s structure being “slimmer’.
Italian comedies Soap Opera and Andiamo a Quel Paese bookend the line-up.
Full line-up
Cinema D’Oggi
World premiere
• Angely...
- 9/29/2014
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
A couple of Italian gems along with a more sugary offering are screened at the London film festival, which this year has been reorganised by themes
For a working critic based in the capital, the London film festival is an enticing prospect — and yet a frustrating experience. The regular round of UK releases must be attended to; those films have to be reviewed (including the inevitable sprinkling of duds) and so Lff films have to be squeezed in wherever possible.
What makes it all more agonising is the fact that the Lff programme is somehow always the most mouthwatering document produced by any festival: a juicily thick brochure, packed with great stuff, and an unmissable-looking film on every page. The Lff may not have as many premieres as Toronto, Venice and Cannes, but so what? That's the sort of thing that preoccupies industry types. Regular filmgoers in London are surely...
For a working critic based in the capital, the London film festival is an enticing prospect — and yet a frustrating experience. The regular round of UK releases must be attended to; those films have to be reviewed (including the inevitable sprinkling of duds) and so Lff films have to be squeezed in wherever possible.
What makes it all more agonising is the fact that the Lff programme is somehow always the most mouthwatering document produced by any festival: a juicily thick brochure, packed with great stuff, and an unmissable-looking film on every page. The Lff may not have as many premieres as Toronto, Venice and Cannes, but so what? That's the sort of thing that preoccupies industry types. Regular filmgoers in London are surely...
- 10/19/2012
- by Peter Bradshaw
- The Guardian - Film News
Chicago – Matteo Garrone’s revelatory crime picture joins the esteemed group of worthy foreign film Oscar contenders (like “4 Months, 3 Weeks and 2 Days”) inexplicably snubbed by the Academy. But such accolades are meaningless compared to the reaction it has received, breaking box office records in its limited release, while acquiring the passionate support of film icons like Martin Scorsese. It has gained a reputation for being the “ultimate Mafia movie” (even though it’s actually about a different crime family), besting everything from “The Godfather” and “GoodFellas” to “The Sopranos.”
Blu-Ray Rating: 5.0/5.0
Yet Garrone doesn’t even attempt to mimic the larger-than-life style and scope of Coppola or Scorsese, and his film achieves an entirely different kind of greatness, stripping away any shred of romanticism or artifice to reveal the primal horror lying behind scenes of deceptively mundane life. His film also has the distinction of being set in modern-day Italy,...
Blu-Ray Rating: 5.0/5.0
Yet Garrone doesn’t even attempt to mimic the larger-than-life style and scope of Coppola or Scorsese, and his film achieves an entirely different kind of greatness, stripping away any shred of romanticism or artifice to reveal the primal horror lying behind scenes of deceptively mundane life. His film also has the distinction of being set in modern-day Italy,...
- 12/1/2009
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Film Review: Gomorra, Cannes, In Competition
Powerful, stripped to its very essence and featuring a spectacular cast (of mostly non-professionals), Matteo Garrone's sixth feature film "Gomorra" goes beyond Tarrantino's gratuitous violence and even Scorsese's Hollywood sensibility in depicting the everyday reality of organized crime's foot soldiers. The characters of the film's five stories all work for the Camorra - the Neapolitan "mafia" behind over 4,000 murders in 30 years in Italy, and countless illegal activities - and besides being extremely dangerous are relentless, petty and anything but wise.
Success at home is virtually guaranteed for "Gomorra" as it's based on Roberto Saviano's eponymous 2006 bestseller (1.2 million copies sold, translated into 33 languages) and the build-up to its release along with selection in competition at Cannes have created a huge buzz in Italy. Internationally, the film has sold to a handful of European territories so far, as well as Canada, though buyers are expected to grow significantly after Cannes.
"Gomorra" is one of the rare dramatic films to come out of Italy in recent years that has the appeal to play well theatrically, at least in Europe, and in festivals worldwide. In the U.S., it should play to the widest possible range of Art House audiences looking for a thinking person's mafia movie.
At times slow and documentary-like, "Gomorra" is tension-filled and highly realistic. (Author and co-screenwriter Saviano, 29, has been under police escort even since the book was published.) Shot predominantly in Naples' Scampia neighborhood - an architectural nightmare of enormous rundown apartment blocks - the film never caters to those looking for the kind of adrenaline or over-the-top humor or glamor that's come to be associated with the genre.
Garrone neither judges nor idolizes in his sober approach, and restrains from too many other indulgences, artistic or formulaic, beyond handheld camera work and numerous close-ups. And the faces he chooses, predominantly people plucked from the streets on which he films, make most movie mafiosos look like models.
Even the film's soundtrack (Neapolitan pop music, sparingly used) adds to the overall feel of background rather than imposing a mood. Garrone also makes use of total silence and, rather than coming across as a manipulative film school trick, it only enhances particularly emotional scenes.
Apart from the film's most notable star, Toni Servillo, other standout performances come from Gianfelice Imparatore, Salvatore Cantalupo, Carmine Paternoster and 13-year-old Salvatore Abruzzese.
Cast: Toni Servillo, Gianfelice Imparato, Maria Nazionale, Salvatore Cantalupo, Gigio Morra, Salvatore Abruzzese, Marco Macor, Ciro Petrone, Carmine Paternoster. Director: Matteo Garrone. Screenwriters: Maurizio Braucci, Ugo Chiti, Garrone, Massimo Gaudioso, Roberto Saviano. Producer: Domenico Procacci. Director of photography: Marco Onorato. Production designer: Paolo Bonfini. Costume designer: Alessandra Cardini. Editor: Marco Spoletini.
Production companies: Fandango, RAI Cinema
Sales Agent: Fandango Portobello Sales
No MPAA rating, 135 minutes.
Powerful, stripped to its very essence and featuring a spectacular cast (of mostly non-professionals), Matteo Garrone's sixth feature film "Gomorra" goes beyond Tarrantino's gratuitous violence and even Scorsese's Hollywood sensibility in depicting the everyday reality of organized crime's foot soldiers. The characters of the film's five stories all work for the Camorra - the Neapolitan "mafia" behind over 4,000 murders in 30 years in Italy, and countless illegal activities - and besides being extremely dangerous are relentless, petty and anything but wise.
Success at home is virtually guaranteed for "Gomorra" as it's based on Roberto Saviano's eponymous 2006 bestseller (1.2 million copies sold, translated into 33 languages) and the build-up to its release along with selection in competition at Cannes have created a huge buzz in Italy. Internationally, the film has sold to a handful of European territories so far, as well as Canada, though buyers are expected to grow significantly after Cannes.
"Gomorra" is one of the rare dramatic films to come out of Italy in recent years that has the appeal to play well theatrically, at least in Europe, and in festivals worldwide. In the U.S., it should play to the widest possible range of Art House audiences looking for a thinking person's mafia movie.
At times slow and documentary-like, "Gomorra" is tension-filled and highly realistic. (Author and co-screenwriter Saviano, 29, has been under police escort even since the book was published.) Shot predominantly in Naples' Scampia neighborhood - an architectural nightmare of enormous rundown apartment blocks - the film never caters to those looking for the kind of adrenaline or over-the-top humor or glamor that's come to be associated with the genre.
Garrone neither judges nor idolizes in his sober approach, and restrains from too many other indulgences, artistic or formulaic, beyond handheld camera work and numerous close-ups. And the faces he chooses, predominantly people plucked from the streets on which he films, make most movie mafiosos look like models.
Even the film's soundtrack (Neapolitan pop music, sparingly used) adds to the overall feel of background rather than imposing a mood. Garrone also makes use of total silence and, rather than coming across as a manipulative film school trick, it only enhances particularly emotional scenes.
Apart from the film's most notable star, Toni Servillo, other standout performances come from Gianfelice Imparatore, Salvatore Cantalupo, Carmine Paternoster and 13-year-old Salvatore Abruzzese.
Cast: Toni Servillo, Gianfelice Imparato, Maria Nazionale, Salvatore Cantalupo, Gigio Morra, Salvatore Abruzzese, Marco Macor, Ciro Petrone, Carmine Paternoster. Director: Matteo Garrone. Screenwriters: Maurizio Braucci, Ugo Chiti, Garrone, Massimo Gaudioso, Roberto Saviano. Producer: Domenico Procacci. Director of photography: Marco Onorato. Production designer: Paolo Bonfini. Costume designer: Alessandra Cardini. Editor: Marco Spoletini.
Production companies: Fandango, RAI Cinema
Sales Agent: Fandango Portobello Sales
No MPAA rating, 135 minutes.
- 5/17/2008
- The Hollywood Reporter - Movie News
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