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Oscilloscope Laboratories -- currently rolling out Matteo Garrone's Cannes hit "Reality" across the Us -- announced today its acquisition of "Breakup at a Wedding," the debut feature by short film director Victor Quinaz. The film will be released June 18th across all VOD platforms, with select screenings and a college tour beforehand. Produced by "American Horror Story" star Zachary Quinto, Neal Dodson and Corey Moosa's Before the Door Pictures ("Margin Call"), "Breakup" is the story of Alison (Alison Fyhrie) and Phil (Philip Quinaz, the director's brother) who, on the eve of their wedding, decide to call the whole thing off and throw a sham wedding instead. Watch a chat with some of the crew below. »
- Ryan Lattanzio
Last year Cannes hosted the first Directors' Assembly providing opportunities for directors to come together to network and share their filmmaking experiences with one another. This year the forum returns with two two-hour sessions that will take place at the Croisette Theater on Saturday May 18 and Tuesday May 21st. The session topics are listed below: Session 1: Independent Directors' Experiences Worldwide Session 2: The European Crisis and its Consequences on it's Member States Cultural Policies The Director's Assembly is supported by: David Cronenberg, Stephen Frears, Matteo Garrone, Mahamat Saleh Haroun, Naomi Kawase, Joachim Lafosse, Pablo Larrain, Ken Loach, Sergei Loznitsa, Cristian Mungiu, Yousry Nasrallah, Christian Petzold, Nicolas Philibert, Walter Salles, Bertrand Tavernier, Pablo Trapero, Joachim Trier and Andrei Zviaguintseve. For more information on and for a detailed schedule, please visit : www.quinzaine-realisateurs.com »
- Cristina A. Gonzalez
Claudio Giovannesi studied film directing at the Centro Sperimentale di Cinematografia, Italy’s national cinema school. After graduating, he sneaked onto the sets of Matteo Garrone, the director of "Gomorra," to see how he worked. Giovannesi believes in taking a documentary-type approach to his fiction projects. Through that he attempts to learn as much as possible about the real-life setting that he explores in his features. What it's about: Winter in the outskirts of Rome. One morning, best friends Nader, whose family is from Egypt, and Stefano steal a scooter and do a hold-up before going to school as if nothing happened. It is a film about the multicultural society that is Italy today. What else should audiences know?: "'Alì Blue Eyes' was shot with non-professional actors, people who bring themselves, their vision of the world, their life and their own feelings to the role. Almost nothing of »
Italian director Matteo Garrone made waves at American art houses with the unsettling mob drama "Gomorrah," which not only unearthed details about his country's powerful criminal organizations but rendered them in cold, brutal terms that imbued the movie with extreme claustrophobia. His follow-up, the Cannes-winning "Reality," takes aim at a different target with a similarly dour gaze. The movie, which opened in limited release last month but expands to several cities today, follows the experiences of Neapolitan fishmonger Luciano (Aniello Arena) as he grows increasingly obsessed with landing a role on "Big Brother" to the point where he may or may not be losing his mind. While Garrone views his character in sympathetic terms and renders his blue collar status with many of the grimy, decisively unromantic traits previously found in the filmmaker's work, "Reality" also takes marvelously satiric jabs at the impact of contemporary media on the everyman, particularly in Italy. »
- Eric Kohn
Labyrinth, a two part television adaptation based on Kate Mosse’s 2005 novel of the same name, will be airing on Channel 4 this Easter weekend. So in anticipation of one of the television events of the Easter break (yes we love Doctor Who here at Flickering Myth and will be eagerly tuning in before turning over to Channel 4), we had an opportunity to interview Labyrinth’s villainess Marie-Cécile herself, Claudia Gerini, the Italian actress who following her English television debut will be seen later this year in the lead role of husband Federico Zampaglione’s “Giallo” Tulpa.
Claudia spoke of the appeal of acting, the instinctive approach to her profession, her time in the theatre, the distinct characters of Labyrinth’s Marie-Cécile and Tulpa’s Lisa, the opportunities to play interesting female »
- Flickering Myth
Chicago – Matteo Garrone is a notable talent. His highly acclaimed 2008 film “Gomorrah” earned praise around the world and the follow-up, “Reality,” won the Grand Prix at the Cannes Film Festival last year. It’s a step down from his previous work as it’s less ambitious and doesn’t quite come together but it features enough interesting ideas about our fame-obsessed culture to see why it connected with the French fest jury. And it does nothing to stop that feeling that Garrone is a major filmmaker.
It makes sense that a film called “Reality” opens with a very abnormal event — a wedding in a horse-drawn carriage with people dressed like clowns and lords & ladies while doves fill the air. This is not a common, everyday “Reality.” And Garrone’s film is about a man in a very dull, plain reality who gets a glimpse of the heightened one on »
- firstname.lastname@example.org (Adam Fendelman)
'Reality' is a charming, lightly witty, Italian film that looks at the curious world of reality TV. But the circumstances in which the film were made add a layer of intrigue.
Because director Matteo Garrone, celebrated for his much darker 'Gomorrah', found his leading man in prison. Where he is serving a life sentence for murder due to his former incarnation as a hit man. So how did this come about?
Anniello Arena stars in 'Reality', but the circumstances of his casting were complicated
"He was in a prison theatre group, and I went to see one of the plays and was dazzled by his performance," explains Garrone. "I originally wanted him for 'Gomorrah', but he wasn't allowed because of his past connections.
"When the prospect of this film came up, I realised he'd be exactly right for the role, and fortunately »
- Caroline Frost
Matteo Garrone's Reality got the Grand Prix at Cannes last May, and the festival's best director award went (controversially) to Post Tenebras Lux, the fourth movie by the Mexican international lawyer turned film-maker Carlos Reygadas. A semi-autobiographical film in the style of his idol Andrei Tarkovsky, it's a confusing work in which past, present and fantasy alternate as the fractured narrative moves between the troubled life of Reygadas's alter ego with his wife and small children outside Mexico City, an orgiastic Turkish bath house somewhere on the Continent, and a rugby-playing public school in England he once attended. (The title translates as "light after darkness" and might well be the school's motto.) The family home is visited by a large, red devil and is robbed by an alcoholic farmworker, but it's just one self-indulgence after (or before) another. By some way the best sequence is the opening 10 minutes in »
- Philip French
Matteo Garrone is best known for Gomorrah, his devastatingly honest portrait of the criminal underworld of Naples. This bittersweet comedy is also set largely in Naples and stars Aniello Arena, who began his theatrical career while in jail, working in a troupe of Italian convicts. He plays Luciano, a Neapolitan fishmonger and family entertainer. He becomes obsessed with getting on Grande Fratello, the Italian version of Big Brother, after meeting Enzo, a seedy celebrity who, with his English catchphrase "never give up", became famous after appearing on the show. The movie is Felliniesque in its fascination with grotesques and with the gaudy tastelessness of Italian TV as presented by Fellini in Ginger and Fred, and it depicts the destruction of Luciano as he descends into madness through his desire to become a star. It's a sad story, told at too great a length, but its final image is devastating.
Federico FelliniBig BrotherPhilip French
- Philip French
Post Tenebras Lux | Jack The Giant Slayer | Reality | Compliance | Identity Thief | The Croods | Neighbouring Sounds | Stolen | Reincarnated | Small Apartments | The Servant | I, Superbiker: Day Of Reckoning
Post Tenebras Lux (18)
Terence Malick gone a bit mainstream for you? Then try this latest litmus test, in which Mexican auteur Reygadas takes his penchant for striking imagery and disjointed narratives to commendably ambitious/infuriatingly inscrutable extremes. Centred on a troubled architect and his family, it's a shuffled jigsaw puzzle involving class tensions, rugby, swingers' parties and an animated Satan.
Jack The Giant Slayer (12A)
Another souped-up fairytale offering commercially calibrated spectacle rather than genuine wonder. The promising cast and giant budget amount to a hill of beans.
TV's celebrity culture exuberantly satirised, »
- Steve Rose
Matteo Garrone's comedy moralises that the call of reality-show fame isn't a worthy pursuit. No surprise there
Matteo Garrone (director of the Italian mob drama Gomorrah) has confected a sentimental-realist fable about celebrity culture and its discontents, and it certainly has a resonance in the age of Beppe Grillo and the Five Stars Movement. But nothing in Reality quite lives up to its thrilling and dynamic opening sequence. After a Fellini-style swoop from high above the streets of Naples, Garrone's camera descends to a wedding reception at a resort hotel, where one guest, a voluble fishmonger called Luciano (Aniello Arena), is planning on doing his unfunny party piece to amuse the others – a wacky drag act. But a bona fide celebrity steps in: a former Big Brother contestant called Enzo (Raffaele Ferrante) has been booked to make a personal appearance, and poor Luciano is stunned with awe and envy »
- Peter Bradshaw
General consensus on reality TV is less than favourable most of the time, even though it can be equally addictive as curiosity takes over. Gomorrah director Matteo Garrone and his co-writers have taken this concept and produced a fascinating, modern-day Italian tragedy that gradually creeps under the skin. It’s as eerily disturbing as it is predictable in outcome, making this Cannes’ Grand Prix winner a highly compelling watch. It mirrors reality TV as it takes grip and feeds our urge to be proven right or wrong by events that ensue. It also serves as an ugly reminder of the impact of talent(less) celebrity.
Luciano (Aniello Arena) sees the rewards of winning Italy’s Big Brother TV, after a visit from last year’s winner at a wedding he is attending. With times being hard, running his fish stall, local character Luciano sees getting on this year’s show »
- Lisa Giles-Keddie
No one could accuse the Italian writer-director Matteo Garrone of ploughing the same furrow. His new film, Reality, a bubblegum fable with an acid aftertaste, could scarcely be more different from his previous one, Gomorrah, which announced his entrance into world cinema. He had already made three features before that (including The Embalmer, a taxidermists' love triangle) but Gomorrah was an art-house crossover phenomenon. This violent exposé-cum-thriller, based on the non-fiction book by Roberto Saviano, showed how slaughter and corruption had been absorbed into everyday life under the Camorra in Naples and Caserta. The film picked apart the infrastructure of crime: we saw how far and deep the Camorra's tentacles reach, and how asphyxiating their grasp can be. Gomorrah scooped the Grand Prix at the Cannes »
- Ryan Gilbey
Catch up with the last seven days in the world of film
It perhaps doesn't rate up there with Disney buys Star Wars or Skyfall slays box office, but in these parts we're all big admirers of We Need to Talk About Kevin director Lynne Ramsay, whose career appeared to be on the up after Kevin's successful translation to the big screen following a long period – almost ten years in fact – of fallowness, since her previous film, 2002's Morvern Callar. Which is why it's set us, and the film world, in a spin to hear that Ramsay abruptly left the production of her new project, indie western Jane's Got a Gun, before a frame had been shot.
There's undoubtedly more to this than meets the eye, and we have to be careful what we say as this is a proper breaking news story, but Jane isn't some »
★★★★☆ Reality (2012), the new film from Palme d'Or-winning director Matteo Garrone, starts with the most flagrant unreality. Taking his cue from Fellini, Garrone and cinematographer Marco Onorato establish the irony of the title with an opening shot that descends from the heavens, as a golden coach drawn by plumed white horses through the suburbs arrives at an opulent, grotesque wedding ceremony. In one fell swoop, everything is set in place: our multiple interpretations of reality, the destructive role the façade of outward presentation plays in modern life, and the parallels between religious faith and celebrity status.
Read more » »
- CineVue UK
Italian Matteo Garrone is a filmmaker to watch. He has chops, and range. Italy submitted his last film "Gomorra" for the Oscars, a gritty slice of the uber-violent underworld. His follow-up "Reality" (March 22) is a much lighter fairy tale fable about a man, well-played by sad-eyed prisoner actor Aniello Arena, obsessed with getting his family on Italian reality show "Big Brother." It's a delightfully colorful comedy in the classical Fellini tradition. Working class actor Arena, 43, has served 20 years time for a triple homicide; he began acting in prison 12 years ago. After its debut in Cannes competition, "Reality" screened at Toronto, where Garrone gave a Q & A. Question: Where did the story come from? Matteo Garrone: It's based on a true story that happened to a friend in Italy. TV in Italy is very powerful. We did not want to denounce 'Big Brother,' the movie operates on many levels. »
- Anne Thompson
Following on from the critically acclaimed crime drama Gomorrah, Italian filmmaker Matteo Garrone returns with his latest picture Reality, entering into a somewhat different world to his previous project, as we focus on a man desperate to claim a spot on Italian Big Brother – and back at the London Film Festival when Garrone was over in Britain, we sat down to discuss his latest feature with him.
Garrone explains the similarities between Reality and Gomorrah, the religious connotations that exist, as well as telling us that this is his most difficult movie yet. Garrone also discusses his lead star Aniello Arena – who was discovered in a prison production, as the former criminal turned actor had to shoot the movie while serving a life sentence for a triple homicide…
Do you think that because the main theme in Reality is surrounding one man’s desire to be on reality TV – something »
- Stefan Pape
Editor’s note: This review originally ran during Cannes 2012, but we’re re-running it as the film’s limited theatrical release begins this weekend. Those expecting Matteo Garrone to follow up 2008′s excellent Gomorrah with another authentic new world crime drama might be surprised to hear that his latest project replaces the seedy criminal underworld for a thoroughly modern exploration of the current fascination with reality TV and its particular brand of disposable fame. In Reality, we follow the tragi-comic story of Luciano (Aniello Arena), a Neapolitan fishmonger with aspirations to find his fortune on the Italian version of Big Brother at the behest of his family who see him as a star and inspired by the success of former housemate Enzo (Raffaele Ferrante). We also follow his subsequent delusional breakdown. Reality is effectively Garrone’s take on Willy Wonka and the Chocolate Factory, replacing the golden ticket with the chance to make it into the Big »
- Simon Gallagher
This weekend sees a number of well-reviewed films in limited release. Sally Potter's lovely coming-of-age drama "Ginger & Rosa" stars a remarkable Elle Fanning nimbly handling the role of a budding teen poet struggling to come to terms with her family's latest break-up and the Cuban Missile Crisis. The new Studio Ghibli entry and Hayao Miyazaki's son Goro's second feature film, "From Up on Poppy Hill," is receiving glowing praise from the critics, while Matteo Garrone's "Reality," his follow-up to "Gomorrah" that follows the rise of a regular guy to reality TV-star status, is also getting top marks. Harmony Korine's Disney-darlings-gone-wild "Spring Breakers" is nabbing more upbeat, less outraged reviews than usual for the bad-boy filmmaker, particularly the New York Times' Manohla Dargis (review link below). Wide release an SXSW opener "The Incredible Burt Wonderstone," starring bleached, tanned and coiffed Jim Carey, Steve Carrell and Steve Buscemi, »
- Beth Hanna
The relationship between audiences and reality television has shifted to some degree over the past decade (or longer). Where early shows were once positioned as voyeuristic/documentary style looks at Real People, it quickly became clear to those in front of the camera, behind it and at home watching, that reality television is just a different kind of performance. While these programs are ones ostensibly rooted in Real Life, the people selected for these shows -- as well as the writers, producers and directors -- have become increasingly aware of the audience, playing directly to them. Simply put, most people know reality television is actually not that real at all, but in case you forgot, Matteo Garrone's "Reality" is here to remind you. From the outset, Luciano (Aniello Arena) hardly seems like someone who would be interested or have time for "Big Brother." Not only are his days tied »
- Kevin Jagernauth
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