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Le fil France Movie 2010
Drama Movie
Cast And Crew
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Release Date:12 May 2010
Starring:*Claudia Cardinale  Antonin Stahly-Vishwanadan  Salim Kechiouche  Driss Ramdi   Ramla Ayari
Director:Mehdi Ben Attia
Writer:Mehdi Ben Attia (screenplay) & Olivier Laneurie
Genre:Drama
Language:French  | Arabic
Country:France | Belgium  | Tunisia

Le fil French Movie Review

Critique de Tootpadu
Nous aurions tant souhaité aimer davantage ce premier film tunisien. A première vue, il contenait tout ce que notre coeur désire : une romance gaie entre Salim Kechiouche et un autre acteur, presque aussi plaisant à regarder; un environnement social qui entravait l’éclosion de cet amour juste assez pour rendre son point de vue pertinent; et enfin le grand retour de Claudia Cardinale, une comédienne légendaire au parcours plutôt inégal. Au final, Le Fil livre certes une vision décomplexée, voire banale, de l’homosexualité dans un pays, où le discours officiel désigne l’amour entre deux hommes comme un péché. Mais c’est justement cette absence d’obstacles sérieux à l’épanouissement des rapports charnels et romantiques entre Malik et Bilal, qui enlève la gravité coutumière de ces drames de pédés, qui sont censés nous rappeler à quel point il est difficile de vivre ouvertement l’homosexualité au jour le jour. La démarche hésitante du réalisateur Mehdi Ben Attia ne nous concocte pas pour autant un conte de fées fier de l’orientation sexuelle de ses princes charmants. Elle nous laisse plutôt face à la douce utopie d’une normalité toute relative, qui sait être assez discrète pour contourner habilement le diktat des traditions dans les pays maghrébins.
L’homosexualité telle que le protagoniste la vit dans ce film sensuel n’est plus marquée par l’effacement honteux des générations passées. Tout comme la frontière entre la France, jadis la terre promise, et la Tunisie, le pays des ancêtres et des racines familiales, est désormais perméable dans les deux sens de l’immigration, le quotidien d’un gay tunisien n’est plus condamné à la clandestinité farouche. Son statut social aisé permet à Malik de s’éclater presque à l’occidentale, avec des partenaires rencontrés au coin de la rue, sous l’emprise de la drogue, et sans la crainte de se faire embarquer par une rafle arbitraire de la police. Ce trentenaire élevé entre deux mondes n’attache guère d’importance au faire semblant. Ainsi, il a trouvé un arrangement avec sa collègue, une lesbienne qu’il épousera sans conviction pour fournir une figure paternelle à son futur enfant, inséminé avec le sperme d’un autre. Non, Malik n’est pas le genre de fils ingrat et contestataire qui claque les portes et qui met sa famille devant le fait accompli. Il ne tergiverse pas sur ses préférences, mais il ne le juge pas non plus nécessaire d’épeler à sa mère ses histoires de cul.
De cette attitude ambivalente, rien de bon ne peut résulter en termes scénaristiques, dans le sens d’une trame clairement établie. La structure alambiquée du récit, avec ses retours en arrière au moment de la maladie du père et ses deux sauts importants dans le temps, la première fois de quelques semaines et la deuxième fois carrément de quelques années, apparemment juste pour nous montrer que le bonheur d’un couple gay peut durer, même en Tunisie, ne fait en effet rien pour rendre la relation entre Malik et Bilal plus accessible. Il est évident dès le début, quand le maître survole furtivement avec ses yeux le torse en transpiration du valet, que ces deux là vont finir tôt ou tard ensemble au pieu. Mais ce qui est alors le plus étonnant, c’est que Malik, et avec lui le film dans son ensemble, mettent si longtemps avant de juger le moment opportun pour franchir le pas.
Le rythme avec lequel leur relation progresse par la suite n’est pas moins chahuté. Il s’articule essentiellement autour d’une série d’événements importants, comme l’avancement au statut d’invité dont Bilal jouit dès lors dans la maison de son ancienne maîtresse, le malaise de celle-ci, et le mariage de pacotille qui met les deux amants face à une réalité sociale, qu’ils sont prêts à subir sous certaines conditions. En parallèle, la mère fait un peu trop abruptement la paix avec son fils et son penchant pour les hommes. Derrière ce revirement, qui n’en est pas vraiment un, puisque le retour en arrière après l’enterrement du père laisse au moins sous-entendre que la mère se doute bien de quelque chose, se cache un manque d’assurance scénaristique, que nous mettrons volontiers sur le compte d’un premier film, beau et bien intentionné, mais pas tout à fait convaincant dans l’agencement de son intrigue, inutilement imbriquée.
Enfin, à la joie de retrouver Salim Kechiouche sur nos écrans se mêle une mélancolie dubitative, nourrie par l’étonnement de le voir reprendre ici en gros son rôle dans Grande école de Robert Salis. Disposer d’un “côté icône gay”, comme l’affirme le réalisateur lui-même, est une chose pour un acteur. Mais de là à être cantonné film après film dans des rôles de fantasme ambulant, c’est un destin que nous ne souhaitons nullement à la carrière cinématographique jusqu’à présent peu prolifique de ce comédien séduisant.

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The Trotsky hollywood Movie 2010
Comedy Movie
Cast And Crew
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Release Date:5 May 2010
Starring:*Jay Baruchel  Emily Hampshire  Liane Balaban  Taylor Baruchel   Dan Beirne
Director:Jacob Tierney
Writer:Jacob Tierney
Genre:Comedy
Language:English
Country:Canada

The Trotsky English Movie Review

The typical American high school comedy is more concerned with sex than with socialism, but leave it to Canada to reverse that balance. In “The Trotsky,” a study of teenage dementia set in Montreal, a privileged 17-year-old named Leon Bronstein (Jay Baruchel) is convinced he’s the reincarnation of Leon Trotsky.
Guided by numbered flash cards (No. 9: Get assassinated), Leon slavishly follows the destiny of his radical namesake by staging a hunger strike at his father’s factory. As punishment, he’s transferred to public school, where he immediately begins sniffing out “fascists” and organizing a prom with social justice as the theme. Luckily, Canadian students seem to have unlimited access to the fashion choices of Black Panthers and Maoists.
Cleverly referring to Ken Loach, Sergei Eisenstein and Ayn Rand, “The Trotsky” (written and directed by Jacob Tierney) runs 20 minutes too long and several rungs above the head of its target audience. And though Mr. Baruchel can be very funny in small doses — a slacker sidekick in “Knocked Up,” a gung-ho kid in “Tropic Thunder” — here he swiftly becomes insufferable, a neurotic nudnik in funeral director attire and John Turturro hairdo. Constantly thrust forward as if toppling over with Bolshevik zeal, he woos the woman he believes to be his future wife (Emily Hampshire) and a disillusioned civil liberties lawyer (Michael Murphy) with equal fanaticism.
“You need counseling,” the lawyer comments, observing Leon’s attention-seeking behavior. Or maybe a trip to Mexico?
THE TROTSKY
Opens on Wednesday in Manhattan.
Written and directed by Jacob Tierney; director of photography, Guy Dufaux; edited by Arthur Tarnowski; music by Malajube; production designer, Anne Pritchard; costumes by Mario Davignon; produced by Kevin Tierney; released by Tribeca Film. At the Tribeca Cinemas, 54 Varick Street, at Laight Street. Running time: 1 hour 54 minutes. This film is not rated.
WITH: Jay Baruchel (Leon Bronstein), Domini Blythe (Mrs. Davis), Geneviève Bujold (Commissioner Archambault), Anne-Marie Cadieux (Anna Bronstein), Jesse Camacho (Skip), Colm Feore (Principal Berkhoff), Emily Hampshire (Alexandra Leith), Tiio Horn (Caroline), Ricky Mabe (Tony), Michael Murphy (Frank McGovern), Jessica Paré (Laura), Tommie Amber Pirie (Sarah Bronstein) and Saul Rubinek (David Bronstein).

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Metropia hollywood Movie 2010
Animation | Sci-Fi | Thriller Movie
Cast And Crew
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Release Date:May 12 May 2010
Starring:*Vincent Gallo  Juliette Lewis  Udo Kier  Stellan Skarsgård   Alexander Skarsgård
Director:Tarik Saleh
Writer:Fredrik Edin (screenplay) Fredrik Edin
Genre:Animation | Sci-Fi | Thriller
Language:English
Country:Sweden  | Denmark  | Norway  | Finland

Metropia English Movie Review

It’s almost a tradition that there is at least one dystopian nightmare vision of the future in the selections every year in the Belfast Film Festival, and without exception each of those films have a powerful aesthetic quality or technique with a unique approach that lends itself to an inevitably dark worldview. Last year’s selection, Ditching, went for a low-budget, lo-fi approach that suited its particular back-to-roots vision of a post-apocalyptic Northern Ireland, but previous years have seen as varied an appraoch as the Metropolis-inspired retro silent-movie stylisations of Esteban Sapir’s vision of Argentinean dictatorships in The Aerial (La Antena), and the tasteful, clean-cut, Scandinavian designer look of Jens Lien’s nightmarish view of social conformity in The Bothersome Man (Den Brysomme Mannen). Taking computer animation techniques to a new level, this year’s dark future, Tarik Saleh’s Metropia, finds perhaps the most eerie and unsettling visual qualities to depict its worrying vision of a united Europe in the year 2024.

And it is indeed the animation techniques themselves – even more than the central concept of the film which is a Big Brother world where even your thoughts are monitored – that are the most unsettling aspect of Metropia. Finding a way to use and animate photo-realistic models and through a minimum of movements and some slight deformation, director Tarik Saleh manages to evoke a palpable sense of oppression in this dark, futuristic world where the subway systems of all the European countries of Europe been joined-up into one vast Metro network controlled by a somewhat sinister organisation called Trexx, managed by Ivan Bahn (Udo Kier). The world itself, although expertly designed, looking like a cold miserable place to live, conforms to a large degree with many other visions of a dark, oppressive future – most notably the Kafka-influenced world of Terry Gilliam’s Brazil (Gilliam’s early surreal Monty Python animations almost certainly also being a major influence here as well).

Unfortunately, as brilliantly and unsettlingly the manner that the world of Metropia is depicted, there’s a lot less thought that has gone into the actual script to make it either credible or meaningful, the filmmakers instead settling for the standard by-the-numbers plot of a weak-willed individual who finds a way to empower himself through love to beat the system. That individual is Roger – wonderfully voiced with a hesitant, whining quality by Vincent Gallo – a call-centre worker in Stockholm (the call-centre worker being inevitably the mindless, routine, soul-destroying occupation of choice that stands in for the coldness, distance that lack of humanity and social responsibility in contemporary visions of the future). Roger is becoming increasingly paranoid about his work colleagues informing on his bizarre – not to mention illegal – use of a bike to go to work, rather than using the Metro system. His concerns and dissatisfaction at work however feed back into his home life, placing a strain on his relationship with Anna (Sofia Helin), who he suspects is having an affair. Then there’s those voices in his head at night…

Our reluctant hero however unexpectedly takes matters into his own hands and, without quite knowing why, fails to turn up to work when he follows a woman he sees on the Metro who looks uncannily like the woman in the ads and on the distinctive packaging for a ubiquitous brand of shampoo. The woman is Nina (Juliette Lewis), and she’s about to let him into a secret about those voices he is hearing in his head – but can the paranoid Roger trust her any more than he can trust anyone else?

Rather like in The Aerial (La Antena) mentioned earlier, the execution here is marvellous and innovative, but Metropia is similarly lacking in substance, with its vague conspiracy-theory allusions to faceless evil multinational enterprises (the television is predictably shown as the primary tool for controlling and subduing the populace), and no concrete application to the realities of the world around us, or even a credible or meaningful purpose that is consistent within its own internal worldview. How did things get into this state (this incredibly bleak vision of a joined-up Europe could only be a credible future to UKIP and some of the Conservative Party’s extremist European friends) and if it is just an imaginary world unrelated to the one we know, why should we be concerned about it? Without any reason to make a personal investment in the characters or the situations they find themselves in, Metropia is little more than a fine spectacle, a fascinating exercise in style and paranoia and worth seeing for those reasons alone – but it doesn’t really have anything new or relevant to say about the world we live in today.

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Beetle Queen Conquers Tokyo Japan Movie 2010
Documentary  Movie
Cast And Crew
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Release Date:May 12 May 2010
Starring:*  Jessica Oreck
Director:Jessica Oreck
Writer:Jessica Oreck
Genre:Documentary
Language:English | Japanese
Country:USA  | Japan

Beetle Queen Conquers Tokyo Japanese Movie Review

What if the lowly beetle were to miraculously gain the ability of comprehension and began to fully understand the Japanese culture’s obsession with its tiny black form? Would the beetle be flattered? Baffled? Or would it feel the sting of oppression and exploitation?

According to Jennifer Oreck’s stunningly beautiful documentary Beetle Queen Conquers Tokyo, the Japanese are absolutely mad about insects and, in particular, the beetle. Beetles are everywhere. They are sold in pet shops the way hamsters are sold in the U.S. And when one is done admiring live beetles bought at the pet shop, one can play a video game and catch digital ones.

There are beetle conventions in Japan that look like American comic book conventions, but instead of pawing through cardboard boxes stuffed with old comics, attendees can pick out live beetles out of mountains of clear plastic containers. And, instead of fawning over aging movie and TV stars from the ’80s and ’90s, one can meet a unique kind of Japanese superstar: Men who star in DVDs about beetle hunting in the forest.

Beetles are huge business, too. Not only are there beetles to buy, but special beetle food to eat, grass to burrow into and various aquarium-style knickknacks to adorn their cages. And, once one’s beetle kicks the bucket, one can buy a special shadow box and pins and cellophane to display the corpse in. The beetle inspires such a huge business, one young man is seen proudly driving a Ferrari, which he bought from money earned selling beetles. The man drives his Ferrari  out into the woods so he can kick trees and snatch up new, dazed and confused beetles to sell.

Oreck shows all of this in equal measures of history lesson, science lesson and through sheer artistry. The cinematography by Sean Price Williams is exquisite, capturing the diminutive beetle and blowing it up to gargantuan proportions so we can study its every detail — not easy given how slickly black the beetle’s outer armor is. We can partially grow to understand Japan’s obsession just by admiring how unique and unusual a creature it really is.

At the same time, human subjects are also placed under the camera’s microscopic lens as if to form a connection between admirer and source of admiration. Most of the people we see in detail in the film are children, particularly one young boy who is as crazy for beetles as other boys might be crazy about power rangers or ninja turtles. He’s so in love with beetles he looks like he’s about to burst in every scene he’s in. It’s an enthusiasm that’s infectious that carries throughout the film.

The film also alternates between verité scenes of the modern day love affair with beetles with narrated segments detailing the origins of that affair back through the centuries. There are many tales about emperors and other noblemen demanding poems to be written about beautiful insects they’ve crossed paths with. Despite the particular attention heaped on the beetle, the Japanese insect craze also extends to crickets, lightning bugs, cicadas and others. One modern man keeps a house full of chirping crickets that is music to his ears, but may drive most sane men mad.

All of this, including the narration, is in Japanese. It’s difficult to explain an entire culture, but Oreck does a masterful job of immersing us into the science, history and philosophy of Japan. Oreck is especially deft in how she ties together several Japanese traditions that Westerners may already be familiar with to explain why they’re so fascinated by what we might consider creepy-crawlies. The tradition of the haiku, the religious beliefs in Buddhism and Shintoism all tie into the concept of “mono no aware,” which is the ability to see the beauty in the transient.

Also, as Tokyo grows ever higher up into the sky and wider out into the earth, keeping beetles is but one way urban dwellers can stay connected to the nature they can’t otherwise see. On the one hand, beetles look like little alien entities. And on the other, they really are completely alien to the inner city of Tokyo. There are many shots of crowded, busy Tokyo streets. Grey buildings wrapped in neon seem to stretch into the landscape into forever. People and cars bustling everywhere. But, in the homes, there are beetles to be admired, adored and loved — a brief, natural respite from the man-made, manufactured chaos outside.

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Happiness Runs Hollywood Movie 2010
Drama  Movie
Cast And Crew
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Release Date:7 May 2010
Starring*Hanna Hall  Mark L. Young  Jesse Plemons  Rutger Hauer  Rich Sickler  Mark Boone Junior
Director:Adam Sherman
Writer:Adam Sherman
Genre:Drama
Language:English
Country:UK

Happiness Runs English Movie Review

The wretched children born and raised on a rural hippie commune who flail through Adam Sherman’s new film, “Happiness Runs,” may not be as depraved as the members of the Manson family. But these teenagers, who were home-schooled in a climate drenched in sex and drugs, are a creepy lot. While the 40- and 50-something parents are fornicating and practicing new-age rituals, their aimless offspring spend their days drinking, smoking and dealing pot, ingesting any pharmaceutical they can get their hands on and having sex.
More About This Movie

With nightmare sequences in which the most promiscuous teenager, Becky (Hanna Hall), is shown with blood dripping down her arms, and soft-core scenes that ogle her naked body in various states of ecstasy (she belongs to everybody, she declares), “Happiness Runs” has the look and tone of an erotic horror film. In its ugliest moment, these stoned children of the damned, dressed for a costume party, visit a nearby farm to play a game they call “cow tipping.” One overzealous member of their group gleefully douses a cow with gasoline and sets it on fire; the camera doesn’t show the blaze, but we hear the agonized roars of the animal.

Because “Happiness Runs” is described in the production notes as a semiautobiographical movie — inspired by Mr. Sherman’s experiences growing up in a polygamous hippie cult in Vermont devoted to free love and drug experimentation — there is the unsettling implication that the cow-burning incident actually happened. The notes

go on to say that the commune’s founding guru practiced hypnosis and had long-term sexual relationships with most of the women. In the movie he is named Insley and is played by Rutger Hauer in a performance that suggests a sinister hybrid of Jim Jones and Timothy Leary.

The filmmaker’s presumed alter ego, Victor (Mark L. Young), is a meek lost soul who longs to leave the commune but whose mother (a gaunt, ashen Andie MacDowell) refuses to give him the money. His insane father (Mark Boone Junior) addresses his son in poetic terms like “Whither comest thee?” and leeringly boasts of sleeping with a different woman every night.

This strident exposé may gladden the hearts of some anti-’60s conservatives, but it is a shapeless mess steeped in prurience. Its grain of truthfulness, however, is just enough to leave you unsettled in the pit of your stomach.

Written and directed by Adam Sherman; director of photography, Aaron Platt; edited by Jonathan Alberts; music by Johnny Klimek and Reinhold Heil; production designer, Michael Fitzgerald; costumes by Emily Baston; produced by Stephen Israel; released by Strand Releasing. At the Quad Cinema, 34 West 13th Street, Greenwich Village. Running time: 1 hour 28 minutes. This film is not rated.

WITH: Mark L. Young (Victor), Hanna Hall (Becky), Jesse Plemons (Chad), Laura Peters (Rachel), Shiloh Fernandez (Shiloh), Andie MacDowell (Victor’s mother), Mark Boone Junior (Victor’s father) and Rutger Hauer (Insley).

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Sea Rex 3D: Journey to a Prehistoric World Hollywood Movie 2010
Documentary Movie
Cast And Crew
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Release Date:May 14th, 2010
Starring:*Richard Rider*Chloe Hollings*Guillaume Denaiffe”Norbert Ferrer
Director:Ronan Chapalain Pascal Vuong
Writer:Ronan Chapalain (written by) Richard Dowlearn
Genre:Documentary
Language:English
Country:UK  | France

Sea Rex 3D: Journey to a Prehistoric World English Movie Review

Synopsis

Experience in IMAX 3D a wondrous adventure from the dinosaur age with “Sea Rex: Journey to a Prehistoric World.” Join Julie, an imaginative young woman, as she travels to the Triassic, Jurassic and Cretaceous periods. Explore an amazing underwater universe inhabited by larger-than-life creatures – including the powerful Liopleurodon, long-necked Elasmosaurus and gigantic Shonisaurus – which were ruling the seas before dinosaurs conquered the earth. See science come alive in a unique and entertaining manner. Immerse yourself in a lost age, 200 million years back in time, and get ready for a face-to-face encounter with the T-Rex of the seas!

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Princess Kaiulani Hollywood Movie 2010
Documentary Movie
Cast And Crew
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Release Date:May 14th, 2010
Starring:* Jimmy Yuill* Shaun Evans* Will Patton*Barry Pepper”Q’orianka Kilcher
Director:Marc Forby
Writer:Marc Forby (screenplay) Robert Payne
Genre:Drama
Language:English | Hawaiian
Country:USA  | UK

Princess Kaiulani English Movie Review

Don’t be fooled by bookended images of people wading through tall sunlit grass and of light streaming through treetops, not to mention the performance of Q’orianka Kilcher as a native princess fighting to save her land from invading Westerners and temporarily relocating to Europe; despite these surface similarities, Princess Kaiulani is no The New World. In every respect in which Marc Forby’s film recalls Terrence Malick’s 2005 masterpiece, it compares unfavorably, recounting Hawaii’s annexation to the United States in the late 1800s with a systematic lack of nuance or depth. What you see is what you get, which in this case is a period piece that employs sub-Masterpiece Theater-ish aesthetics, including import-laden cinematography and emotive classical piano, to compensate for its insubstantiality.

After an attempted coup by a dastardly American (Barry Pepper, his villainy embodied by his curling mustache and giant mutton chops), princess Kaiulani (Kilcher) is sent by her Scottish father (Jimmy Yuill) to the U.K

., where she suffers brazenly nasty racism and falls in love with English boy Clive (Clive Evans), who eventually destroys their romance by keeping from her news that the Hawaiian monarchy led by her aunt has been overthrown. This prompts Kaiulani to return home, where she singlehandedly wins universal suffrage for her marginalized people under their new American constitutional rule via a single dinner speech, a momentous triumph dramatized with the same clunky bluntness that typifies the proceedings as a whole.

In Forby’s hands, Kaiulani’s story amounts to almost nothing, given how one-dimensionally she’s characterized—aside from being noble and loyal to her nation and its people, Kaiulani is wholly devoid of human features

—and how leaden the exposition-guided script copes with its historical tale. Every point of interest is either stated out loud or dealt with in groan-worthy visual symbolism, the most prominent being the seashells into which Kaiulani breathes her memories in order to forever preserve them. Whereas the film seeks grace and uplift in its heroine’s struggle to look after her homeland, it achieves merely TV movie-grade poignancy, all while proffering a portrait of tumultuous dawn-of-an-era events that’s free of insight, and a monotonous lead turn which suggests that Kilcher should branch out from colonized-indigenous-royalty roles.

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La nostra vita Italy Movie 2010
Drama Movie
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Cast”Elio Germano, Raoul Bova, Isabella Ragonese, Luca Zingaretti, Stefania Montorsi, Giorgio Colangeli
Writers:Daniele Luchetti (writer) Sandro Petraglia
Release Date:21 May 2010
Genre:Drama
Language:Italian
Country:Italy

La nostra vita Italian Movie Review

Sinossi:

Claudio (Elio Germano) è un operaio edile di trent’anni che lavora in uno dei tanti cantieri della periferia romana. E’ sposato, ha due figli, ed è in attesa del terzo. Il rapporto con sua moglie Elena (Isabella Ragonese) è fatto di grande complicità, vitalità, sensualità. All’improvviso, però, questa esistenza felice viene sconvolta: Elena muore e Claudio non è preparato a vivere da solo. Rimuove il dolore e sposta il suo lutto nella direzione sbagliata: pensa solo a sfidare il destino, e a dare ai figli e a se stesso quello che non hanno avuto finora: il benessere, i soldi, i capricci, le vacanze, in una parola le “cose”. Per risarcire la sua famiglia, si caccia in un affare più grosso di lui e quando capisce che da solo non può farcela, si vede costretto a rivolgersi agli unici di cui si fida: la sorella troppo materna (Stefania Montorsi), il fratellotimido e imbranato(Raoul Bova), il pusher vicino di casa (Luca Zingaretti). Dopo “Mio fratello è figlio unico”, Daniele Luchetti torna a parlare di famiglia in un film pieno di energia che spinge a vivere la vita fino in fondo.

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Christine Cristina Italy Movie 2010
Biography | History Movie
Cast And Crew
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Cast Amanda Sandrelli, Alessio Boni, Alessandro Haber, Paola Tiziana Cruciani, Blas Roca Rey
Director:Stefania Sandrelli
Writers:Stefania Sandrelli (screenplay) Furio Scarpelli
Release Date:7 May 2010
Genre:Biography | History
Language:Italian
Country:Italy

Christine Cristina Italian Movie Review

Cristina da Pizzano (Amanda Sandrelli) nasce a Venezia nel 1364. Figlia di un famoso astronomo chiamato alla corte di Carlo V, la donna si trasferisce in Francia con la famiglia, paese dove vivrà fino alla fine dei suoi giorni. Siamo nel 1380, durante gli scontri tra Borgognoni e Armagnacchi la giovane Cristina rimane vedova con due figli da accudire ma è alla morte del re che arriverà per lei il periodo più duro. Alla morte del marito francese decadono tutti i suoi diritti di proprietà compreso quello sulla casa e così insieme ai piccoli Giovanetto e Maria la donna trova rifugio presso una vecchia amica che vive su una barca abbandonata agli argini di un fiume insieme al marito Charleton (Alessandro Haber), un bislacco cantastorie che si guadagna il pane strimpellando versi nelle osterie. In cambio dell’ospitalità Cristina si offre di aiutare Charleton a ritrovare la perduta vena poetica suggerendogli qualche rima qui e là. I versi in rima di Cristina cantati da Charleton conquistano l’attenzione di Jean Gerson, uno studioso di teologia che prenderà la donna sotto la sua ala protettrice aiutandola nel difficile tentativo di entrare a far parte dei ristretti circoli intellettuali dell’epoca, riservati unicamente ad illuminati maschi e poco inclini al dialogo e all’apertura nei confronti del gentil sesso. Accusata più volte di eresia e di oltraggio, la donna sarà la prima della storia a vivere di sola poesia lottando con tutte le sue forze contro la fame, la paura e la disperazione per l’affermazione femminile nella bigotta società medievale.

Amanda Sandrelli in una scena del film Christine Cristina, di Stefania Sandrelli Un esordio alla regia ambizioso e coraggioso quello di Stefania Sandrelli che presa per mano dal compagno di vita Giovanni Soldati porta sul grande schermo una storia che racchiude nella sua essenza la forza, la grazia e la caparbietà di tutte le donne, l’avventura di una poetessa che ha combattuto tutta la vita contro pregiudizi di casta e maschilisti prima di essere messa al rogo. Anche autrice della sceneggiatura insieme a Furio e Giacomo Scarpelli e a Marco Tiberi, la Sandrelli confeziona una surreale fiaba storica che visivamente si avvicina a sceneggiati di stampo televisivo e che a tratti – vuoi per la scelta di far recitare gli attori in rima baciata, vuoi per l’argomento e la forbita verbosità dei dialoghi – assume una connotazione marcatamente teatrale che sovraccarica lo spettatore di un fastidioso e inutile fardello. Tratto da una storia vera ambientata in un momento storico di conflitti e guerre sanguinose, Christine Cristina assume una soavità quasi surreale, sospesa nel tempo e scollata completamente dal contesto bellico e in cui la sua regista tenta invano di infilarla mostrando qualche sporadica scena di accoltellamento e un imbarazzante saccheggio della città da parte di una banda di furfanti a cavallo. Mancano scene forti, la violenza e l’asprezza di un momento storico dei più sanguinosi della storia di Francia – probabilmente troppo costose da realizzare per una piccola produzione italiana che ha avuto molte difficoltà e tanti ostacoli – come la stessa regista ha più volte tenuto a precisare – ma manca paradossalmente proprio la poesia, quella delle immagini, quella di una donna lieve e rivoluzionaria al tempo stesso che ha giocato un ruolo importantissimo nella storia dell’evoluzione e dell’affermazione femminile. Seppur brava, soave, delicata e mai fuori luogo, Amanda Sandrelli non riesce a imprimere il giusto carisma alla ’sua’ Cristina avvicinandola troppo alle protagoniste di sceneggiati di moda 30 anni fa. Interessante e di grande appeal invece il personaggio interpretato da un favoloso Roberto Herlitzka nei panni del supremo rettore dell’università di Parigi, servo delle ragioni di Stato ma non insensibile al fascino letterario e allegoricamente plebeo della coraggiosa poetessa.

Alessandro Haber in una scena del film Christine Cristina, di Stefania Sandrelli Delude Alessio Boni, troppo rigido nei panni del letterato progressista Gerson, esaltante invece la prova di Alessandro Haber straordinario nei panni di un cantastorie ubriacone e sognatore con un grande cuore da poeta. Il risultato finale è un film decisamente coraggioso per un esordio, forse inadatto, sicuramente noioso, che si farà ricordare per una delle battute più ’scult’ della storia del cinema italiano. Buone intenzioni per la premiata ditta Sandrelli, e poco altro.

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Online free Scontro di civiltà per un ascensore a Piazza Vittorio Watch Italian movie free trailer Italy Scontro di civiltà per un ascensore a Piazza Vittorio Free film Video, Review, Preview

Scontro di civiltà per un ascensore a Piazza Vittorio Italy Movie 2010

Drama Movie
Cast And Crew
Romantic movie movie story Italian movie online movie trailer movie review Comedy Movie Italy movie online
Cast” Kasia Smutniak, Daniele Liotti, Serra Yilmaz, Ahmed Hafiene, Marco Rossetti, Kesia Elwin, Luigi Diberti, Roberto Citran, Francesco Pannofino, Ninetto Davoli, Fabio Traversa, Paolo Calabresi, Manuela Morabito, Vincenzo Crivello, Massimo De Santis, Renato Nicolini, Milena Vukotich
Director:Isotta Toso
Writers:Maura Vespini (screenplay) and Isotta Toso
Release Date:14 May 2010
Genre:Drama
Language:Italian
Country:Italy

Scontro di civiltà per un ascensore a Piazza Vittorio Italian Movie Review

IL FILM. Nel film, questo vecchio palazzo umbertino diventa il paradigma di ciò che succede oggi in Italia, dove lo scontro di civiltà nasce non solo tra etnie diverse, ma tra differenti posizioni culturali, di classe, religiose e psicologiche. Nell’ambiente chiuso del palazzo e del condominio, scaturisce uno scontro di civiltà in cui le diversità emergono nel quotidiano e diventano malintesi, prevaricazioni, pregiudizi, diffidenze, sospetti, dubbi. Le storie dei personaggi seguono i loro percorsi di vita, incrociandosi e a volte intrecciandosi a causa di una condivisione forzata dello spazio, del palazzo e del suo ascensore, che è l’origine di tante dispute. Una morte improvvisa romperà il “finto” equilibrio condominiale: tutti potranno essere potenziali assassini. L’unico testimone, che però non può parlare, é l’ascensore.
L’ASCENSORE AL CENTRO DELLA TRAMA. Al centro del racconto, infatti, c’è proprio

Tutto pronto per l’uscita (prevista a maggio) dell’atteso film “Scontro di civiltà per un ascensore a piazza Vittorio”, tratto dall’omonimo romanzo di Amara Lakhous. La pellicola, attraverso una folla multiculturale, racconta la vita di uno stabile di piazza Vittorio a Roma, nel quartiere Esquilino. l’ascensore, dove e per il quale si consumano drammi esistenziali, personali, equivoci quotidiani, dispetti e dove si intersecano frammenti di vita. Piazza Vittorio diviene così il simbolo della nuova Roma e della nuova Italia multietnica, così come le liti condominiali attorno all’ascensore diventano l’emblema della difficile convivenza con i propri vicini di casa.
IL TEMA DELLA DIVERSITA’. Il tema della diversità, già trattato ad esempio nel film “L’Orchestra di piazza Vittorio” di Agostino Ferrente e in “Bianco e Nero” di Cristina Comencini, viene affrontato sullo sfondo di vicende quotidiane in cui la “pietra dello scandalo” è rappresentata proprio dall’ascensore. Il titolo “wertmuelleriano” e “gaddiano” della pellicola sottolinea l’esistenza dei personaggi che s’incontrano, si scontrano e si raccontano con i propri pregiudizi, come in una commedia all’italiana. Infatti i malintesi si rincorrono e i preconcetti si accumulano fino al caos. Il film mette in scena un paese che si narra in un quartiere che non è nient’altro che un microcosmo di etnie, il cui fato si gioca in un ascensore.
IL REGISTA E IL CAST. L’opera prima della regista Isotta Toso, già aiuto regista di “Notturno Bus”, è una pellicola corale interpretata da Kasia Smutniak, Daniele Liotti, Serra Yilmaz, Marco Rossetti, Kesia Elwin, Ahmed Hafiene, Isa Danieli, Milena Vukotich, Luigi Diberti, Roberto Citran, Francesco Pannofino, Ninetto Davoli, Fabio Traversa, Paolo Calabresi e Manuela Morabito.

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