Marco Leonardi - News Poster


Blue Underground Reveals New Look at 2K Restoration of Dario Argento’s The Stendhal Syndrome

  • DailyDead
The hunter becomes the prey in Dario Argento's The Stendhal Syndrome, and on July 25th , Blue Underground will release the film like never before in a three-disc limited edition Blu-ray that is packed with bonus features to go with the 2K restoration, which is teased in a new video:

"Dario Argento’S Masterpiece Of Terror – Uncut, Uncensored And Newly Remastered!

When beautiful police detective Anna Manni follows the bloody trail of a sophisticated serial murderer/rapist through the streets of Italy, the young woman falls victim to the bizarre “Stendhal Syndrome” – a hallucinatory phenomenon which causes her to lose her mind and memory in the presence of powerful works of art. Trapped in this twilight realm, Anna plunges deeper and deeper into sexual psychosis, until she comes to know the killer’s madness more intimately than she ever imagined.

Horror maestro Dario Argento (Suspiria, Opera) reaches new heights of
See full article at DailyDead »

Hayden Christensen in First Trailer for 'Numb, at the Edge of the End'

"A lot of people think that the world is coming to an end. I don't think it... I know it." An official trailer has arrived online for a pre-apocalyptic, action, sci-fi movie titled Numb, at the Edge of the End. This stars Hayden Christensen, who hasn't appeared in much since Star Wars, as a war veteran with Ptsd who perceives that the end of the world is coming. It's kind of hard to figure out what exactly this is about - it seems like an odd mix of genres and post-apocalyptic tropes, with a gang of weirdos and a bearded prophet and Vr goggles. I actually think Harvey Keitel looks pretty damn cool with that big white beard. The cast also includes Marco Leonardi, Justin Kelly, Liz Solari, Rafael Spregelburd, and Raymond E. Lee. This doesn't look good, but I will admit I'm curious to see more. Maybe there's something to it?
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Numb Trailer Has Hayden Christensen Preparing for the Apocalypse

  • MovieWeb
Numb Trailer Has Hayden Christensen Preparing for the Apocalypse
The Cannes Film Festival is currently in full swing in the south of France, and one of the movies being sold to worldwide buyers at the fest is Numb, At the Edge of the End. Vmi Worldwide has debuted the first trailer for this indie thriller, as it seeks international buyers at Cannes. The film doesn't have a release date in place yet, and it doesn't seem that the film has a domestic distributor quite yet, but that may change at the festival.

The story follows Kurt Matheson (Hayden Christensen) a war veteran with Ptsd (post traumatic stress disorder) who perceives that the end of the world is coming. After establishing a relationship with a dubious Messiah (Harvey Keitel), he leaves his normal life and begins the construction of a shelter underground, training himself in an extreme way, at the cost of losing everything. He soon makes people believe he is insane.
See full article at MovieWeb »

‘Numb, at the Edge of the End’ Trailer: Hayden Christensen Struggles With Ptsd in New Thriller

  • Indiewire
‘Numb, at the Edge of the End’ Trailer: Hayden Christensen Struggles With Ptsd in New Thriller
The first trailer has dropped for the upcoming thriller “Numb, at the Edge of the End.” The film is directed by Rodrigo H. Vila (“Mercedes Sosa: The Voice of Latin America,” “Boca Juniors 3D: The Movie”) and stars “Star Wars” actor Hayden Christensen in the lead role.

Read More: The 2017 IndieWire Cannes Bible: Every Review, Interview and News Item Posted During the Festival

Christensen plays Tov Matheson, a war veteran suffering from post-traumatic stress disorder. After meeting a dubious prophet named Noe (Harvey Keitel), Tov is convinced that the end of the world is coming. As he leaves his normal life and begins to prepare for the apocalypse, those around him begin to think he’s gone insane.

The film was written by Vila with script collaborator Dan Bush (“The Signal,” “Ghost of Old Highways”). It also stars Justin Kelly (“Degrassi: The Next Generation”), Marco Leonardi (“The Space Between
See full article at Indiewire »

Release Date & Special Features for Dario Argento’s The Stendhal Syndrome Blu-ray / DVD

  • DailyDead
The hunter becomes the prey in Dario Argento's The Stendhal Syndrome, and this July, Blue Underground will release the film like never before in a three-disc limited edition Blu-ray that is packed with bonus features to go with the 2K restoration, including several new interviews.

Blue Underground will release The Stendhal Syndrome on July 25th, and you can check out the official details and cover art below:

"Dario Argento’S Masterpiece Of Terror – Uncut, Uncensored And Newly Remastered!

When beautiful police detective Anna Manni follows the bloody trail of a sophisticated serial murderer/rapist through the streets of Italy, the young woman falls victim to the bizarre “Stendhal Syndrome” – a hallucinatory phenomenon which causes her to lose her mind and memory in the presence of powerful works of art. Trapped in this twilight realm, Anna plunges deeper and deeper into sexual psychosis, until she comes to know the killer
See full article at DailyDead »

The 25 greatest movies about making movies

Mark Harrison May 19, 2017

From the currently playing Their Finest to the likes of Bowfinger and Boogie Nights, we salute the movies about making movies...

If you haven't caught up yet, Their Finest is currently playing in UK cinemas and it's a gorgeous little love letter to perseverance through storytelling, set against the backdrop of a film production office at the British Ministry of Information during the Second World War. Based on Lissa Evans' novel, Gemma Arterton and Bill Nighy play characters whose access to the film industry has been contingent on the global crisis that takes other young men away from such trifling matters, and it's a real joy to watch.

Among other things, the film got us thinking about other films about making films. We're not talking about documentaries, even though Hearts Of Darkness, the documentary about the making of Apocalypse Now, may be the greatest film about
See full article at Den of Geek »

Cinema Paradiso

Giuseppe Tornatore’s ode to the Italian love of movies was a major hit here in 1990, despite being severely cut by Miramax. In 2002 the director reworked his long version into an almost three-hour sentimental epic that enlarges the film’s scope and deepens its sentiments.

Cinema Paradiso

Region B Blu-ray

Arrow Academy

1988 / Color / 1:85 widescreen / Special Edition / 174, 155, 124 min. /

Nuovo cinema Paradiso / Street Date March 21, 2017 / 39.95

Starring: Philippe Noiret, Antonella Attili, Salvatore Cascio, Marco Leonardi, Jacques Perrin, Agnese Nano, Brigitte Fossey, Pupella Maggio, Leopoldo Trieste

Cinematography: Blasco Giurato

Production Designer: Andrea Crisanti

Film Editor: Mario Morra

Original Music: Ennio and Andrea Morricone

Produced by Mino Barbera, Franco Cristaldi, Giovanna Romagnoli

Written and Directed by Giuseppe Tornatore

Your average foreign import movie, it seems, makes a brief splash around Oscar time and then disappears as if down a rabbit hole. A few years back I saw a fantastic Argentine movie called The Secret in Their Eyes.
See full article at Trailers from Hell »

Shudder’s October Titles to Include 1980s Anthology Series Tales From The Darkside

  • DailyDead
Shudder will take viewers to the place that's "not as brightly lit" this Halloween season, as the 1980s anthology series Tales From the Darkside will be available to watch in its entirety on the horror streaming service beginning October 1st:

Press Release: New York, New York – September 26, 2016 – The AMC-backed streaming service, Shudder, is The entertainment destination for everything you need to watch this Halloween season. Whether you’re a hardcore horror fan or simply looking for the scariest films to celebrate this time of year, Shudder has something for everyone in its sweeping library, carefully curated by some of the top horror experts in the world.

As Halloween approaches, Shudder is expanding its database with a variety of new titles including cult favorites, blockbuster hits, and classic thrillers. Additionally, for the first time ever, Shudder will be offering horror TV series to complement its expansive film library.

Premiering October 20th
See full article at DailyDead »

Movie Review – Black Souls (2015)

Black Souls, 2015.

Directed by Francesco Munzi.

Starring Marco Leonardi, Peppino Mazzotta and Fabrizio Ferracane.


The story of three brothers, the sons of a shepherd, close to the ndrangheta and of their divided souls.

Tantalisingly steady in its pace, Black Souls toys with the idea of classical Mafia crime drama, subverting its stereotypical themes for moments that question the allure that violence, ambition and revenge bring to film. Director Francesco Munzi’s (Saimir, The Rest of the Night) cinematic adaption of Joachim Criaco’s novel, Black Souls, pays as much attention to character development as a Shakespearean theatre production would, resulting in a genuinely in-depth picture that intensifies slowly but consistently minute by minute.

Despite being such an ambitious work, Munzi’s plot draws dangerously close to becoming stagnant. However, through its dramatically captivating character development and stunningly distractive cinematography, Black Souls rewards its audience with a conclusion that shocks and satisfies its viewers.
See full article at Flickeringmyth »

Black Souls review – gripping Italian crime drama

Francesco Munzi’s tale of a Calabrian mob family at war is sombre and spare

Don’t say mafia, say ’ndrangheta – the Calabrian crime network that is the subject of Francesco Munzi’s gripping drama, as sombre as its title suggests. This is a dynastic tale that gets more claustrophobic as it develops, as its web of vendetta-style recriminations closes in on the Carbone clan, goat farmers who have diversified into riskier and more profitable businesses.

The film focuses on the differences of character between the Carbone brothers: Luigi (Marco Leonardi), the hard man out in the field; urbane Rocco (Peppino Mazzotta), who lives a seemingly respectable bourgeois lifestyle in Milan; and older brother Luciano (Fabrizio Ferracane), who’d rather tend his herd than continue the old cycle of bloodshed. But when Luciano’s tearaway son makes a rebellious gesture, matters move inexorably towards an outcome that could be called operatic,
See full article at The Guardian - Film News »

Film Review: 'Black Souls'

  • CineVue
★★★☆☆ Francesco Munzi's Black Souls (2014) is a grimly serious family tragedy centred around the feuds within the Calabrian equivalent of the mafia, the 'Ndrangheta. The drama begins in Amsterdam where a business deal is going down between mob boss Luigi (Marco Leonardi) and some Spanish, or South American partners. It doesn't really matter which as this proves to be largely an irrelevance to the rest of the film. In fact, the story has a couple of false starts and seems to stumble into being, but this also might be a way of subverting our expectations.
See full article at CineVue »

Black Souls - video review

  • The Guardian - Film News
Xan Brooks, Henry Barnes and Catherine Shoard review Black Souls, an Italian gangster thriller set in the foothills of the Aspromonte mountains. Francesco Munzi’s film sees the younger generation of a prominent family itching to get into the crime business as their elders look for a way out. Black Souls, which stars Marco Leonardi and Peppino Mazzotta, is released in the UK on Friday 30 October

• Watch the full Guardian film show

Continue reading...
See full article at The Guardian - Film News »

Mexican Oscar-Winning Filmmaker to Head Top Venice Jury: 3D Disaster Thriller to Open Fest

'Everest' 2015, with Jake Gyllenhaal at the Venice Film Festival. What global warming? Venice Film Festival 2015 jury: Oscar winner Alfonso Cuarón president The 2015 Venice Film Festival, to be held Sept. 2–12, has announced the members of its three main juries: Venezia 72, Horizons, and the Luigi De Laurentiis Award for Best Debut Film. In case you're wondering, “Why Venezia 72”? Well, the simple answer is that this is the 72nd edition of the festival. Looking at the lists below, you'll notice that, as usual, Europeans dominate the award juries. The only two countries from the Americas represented are the U.S. and Mexico, and here and there you'll find a sprinkling of Asian film talent. Golden Lion jury The Golden Lion – Venezia 72 Competition – jury is comprised by the following: Jury President Alfonso Cuarón, the first Mexican national to take home the Best Director Academy Award (for the Sandra Bullock-George Clooney
See full article at Alt Film Guide »

Premieres galore at Sydney Film Festival

Neil Armfield.s Holding the Man, Simon Stone.s The Daughter, Jeremy Sims. Last Cab to Darwin and Jen Peedom.s feature doc Sherpa will have their world premieres at the Sydney Film Festival.

The festival program unveiled today includes 33 world premieres (including 22 shorts) and 135 Australian premieres (with 18 shorts) among 251 titles from 68 countries.

Among the other premieres will be Daina Reid.s The Secret River, Ruby Entertainment's. ABC-tv miniseries starring Oliver Jackson Cohen and Sarah Snook, and three Oz docs, Marc Eberle.s The Cambodian Space Project — Not Easy Rock .n. Roll, Steve Thomas. Freedom Stories and Lisa Nicol.s Wide Open Sky.

Festival director Nashen Moodley boasted. this year.s event will be far larger than 2014's when 183 films from 47 countries were screened, including 15 world premieres. The expansion is possible in part due to the addition of two new screening venues in Newtown and Liverpool.

As previously announced, Brendan Cowell
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Review: 'Black Souls' is a Sobering and Sharply Executed Twist on the Mob Genre

In places where opportunities and hope are harder to obtain than a loaded gun, the glorification of a seemingly effortless and powerful criminal lifestyle is engraved deeply into the youth’s psyche like a poisonous spell. Irremediably, it becomes their most tangible aspiration. Kids there do not dream of becoming doctors, lawyers or teachers, but drug dealers, murderers, or gangsters who walk through life intoxicated by the fear of others disguised as respect. It’s just the same in a rough American neighborhood, a Mexican border town, a war torn African capital, or an isolated village in the Italian countryside.

Is in this last setting that director Francesco Munzi unfolds “Black Souls” (Anime Nere), an understated mafia tale that is brutally unflinching and sobering when distilling the built-in conventions of the genre and reapplying them in a powerfully stark manner. First, Munzi takes us on a short trip to the high-stakes world of international drug trafficking and the money laundering schemes that fueled it. Brothers Luigi (Marco Leonardi) and Rocco (Peppino Mazzotta) manage the operation as a family business each with a distinct approach to getting things done. Luigi is the threatening brute that’s willing to get his hands dirty, while Rocco prefers to be as diplomatic as the drug underworld allows. But just as we are prompted to believe the film will follow on the footsteps of countless predecessors, the perspective shifts to a much more intimate, almost pastoral, look at the unbreakable ties and honor-driven feuds between opposite families within the same criminal microcosm: the Calabrian hills in southern Italy.

Making a humble living from farming and raising cattle, Luciano (Fabrizio Ferracane), the eldest sibling in the dynasty, disapproves of his younger brothers lifestyle, which he left behind years ago. But in spite of his father’s evident disdain for his siblings’ violent ways, Luciano’s son Leo (Giuseppe Fumo), a teenage boy full of senseless bravado and thirst for retribution, admires his uncle Luigi ‘s status as an authority figure within the community. Projecting fearlessness and absolute dispassion to be part of the gang, Leo grows detached from his father and begins partaking in the increasingly dangerous disputes with their adversaries. With Luigi back in town, old grudges resurfacing, and Leo’s reckless ability to start trouble, tragedy permanently lurks over the entire clan.

This perpetual feeling of an imminent disaster approaching is what makes the film a restrained and potent statement. Intelligently, the filmmaker chooses unnerving tension over gruesome imagery. Of course, violence is unavoidable in a story like this, but those scenes are much more effective because of their importance in the layered emotional landscape presented. Pride is a boundless catalyst for hatred, and that’s what motivates the individuals here to die in the name of their lineage. Leo loses respect for his father because the promise of easy cash and overall badassery is exponentially more enticing than arduously working the land. Luciano is a coward in his son’s eyes for wanting to live a peaceful life, but the man can hardly experience that as he is caught up in between his brothers’ unfinished business and preventing Leo from following their path. It’s all the subtext that is embedded in every interaction that keeps “Black Souls” from becoming predictable, and instead asks us to ponder on the complex set of characters on screen.

Hauntingly somber, but all the more enthralling because of it, Vladan Radovic’s cinematography inconspicuously contributes to Munzi’s exploration of human darkness. A prime example of its gloomy appeal is a funeral sequence that centers both on a mother grieving her son, and the inevitably brutal consequences of the event. However, although a viscerally serious tone permeates the film, Munzi and Radovic were clever enough to capture beautiful moments of rural life that give “Black Souls” a timeless atmosphere: Luigi singing a traditional tune for the sheer joy of singing or Luciano walking among the ruins of an ancient church quietly denoting his religious devotion. Such glimpses of vulnerability create a mob film that is more concerned with the subtleties beneath the gunshots.

Indispensable for an ensemble piece like “Black Souls,” the entire cast, even those in minimal roles, is made up of a group of actors capable of refraining from ostentatious performances and focusing on the characters’ essential, nuanced qualities. Their conflicts are so profoundly intertwined that a weak link would have been problematic. Still, among these talented group, Fabrizio Ferracane as Luciano gives the most quietly compelling performance as a father, a brother, and a son who can’t recognize himself anymore or fit in among those around him. Ultimately, Ferracane steals the film in the riveting and shocking conclusion.

“Black Souls” delivers a gutsy twist on the tiresome works that showcase villains as stars and their feats as heroic. Munzi offers authenticity and poignancy ignoring our expectations and portraying his characters as deeply misguided people for whom loyalty is a golden asset and death is a common outcome. His film is about unspoken rules and unforgivable transgressions that might appear irrational to the outsider, but unquestionable to those involved.

"Black Souls" is now playing in NYC and opens in Los Angeles on April 24th.

Director Francesco Munzi will be doing a Skype Q&A from Rome, Italy on Saturday 4/18 at both the Angelika Film Center in NYC (after the 7:30 pm show) & at the Angelika Film Center in Fairfax, Va (after the 8pm show).

For all the play dates and theaters across the U.S. visit Here
See full article at Sydney's Buzz »

Black Souls Is a Mesmerizing New Italian Gangster Film

  • Vulture
Black Souls Is a Mesmerizing New Italian Gangster Film
Don't be alarmed if you feel a little lost during the early scenes of the somber new gangster film Black Souls. Director Francesco Munzi lets his tragic narrative unfold gradually and subtly, like a neo-neorealist take on The Godfather. There's a good reason for this: He wants to show us his individual characters — all members of the Carbone family – in their different environments. And at first, this isn't quite the Mafia we recognize from movies. There's a mundane quality to this business: We see Rocco (Peppino Mazzotta), the boss, getting cash from his bankers so he can pay his men (many of whom, we may notice, have Middle Eastern names); we see his loose-cannon brother Luigi (strong-jawed Marco Leonardi — who was once the fresh-faced teenage Toto in Cinema Paradiso) negotiating some kind of deal with a group of Spaniards; we see Luciano (Fabrizio Ferracane), the oldest, who wants
See full article at Vulture »

Watch The New Clip From Black Souls (Anime Nere)

In his review of Vitagraph Films’ Black Souls (Anime Nere), Travis Keune wrote the movie is, “a richly deep story about an unconventional “family business” that conjures up the essence of The Godfather but distances itself even further from the genre stereotypes than just about any film we’ve seen in recent years.”

Read the rest of the review here and check out the brand new clip.

Based on real events described in Gioacchino Criaco’s novel, Black Souls (Anime Nere) is a tale of violence begetting violence and complex morality inherited by each generation in rural, ancient Calabria, a reallife mafia (‘Ndrangheta) seat in Southern Italy.

The Carbone family consists of three brothers, Luigi (Marco Leonardi) and Rocco (Peppino Mazzotta) who are engaged in the family business of international drug trade and Luciano (Fabrizio Ferracane) who has remained in the ancestral town of Africo in the Aspromonte mountains on the Mediterranean coast – herding goats.
See full article at »

Black Souls and Broken Horses Suggest You Can’t Pick Your Crime Family

Crime and families (and crime families) have been a part of international cinema for years with movies as diverse as The Godfather, Animal Kingdom and The Raid all touching on the subject to varying degrees. Two new far lower profile films head into theaters this week, and while neither reach the heights of the ones just mentioned they’re both worthy additions to the sub-genre as they explore the deadly ramifications of mixing blood relatives with bloodletting. You can pick your friends, but it turns out you can’t pick your crime family. ————————————————- Three adult men, brothers, have moved on from the grief over their father’s murder to focus on what makes them happy. Rocco (Peppino Mazzotta) is a businessman, at least on the outside, who runs a drug and crime empire from his snazzy Milan apartment while Luigi (Marco Leonardi) participates with a far more hands-on approach. The
See full article at FilmSchoolRejects »

Black Souls – The Review

Like many genre films, the category of mafia films is often branded with certain expectations. Granted, not all of these films are created equal, but we generally expect to see lots of violence and/or lots of foul language and Hollywood stereotypes. Where Black Souls succeeds is in refusing such stereotypes and telling a richly deep story about an unconventional “family business” that conjures up the essence of The Godfather but distances itself even further from the genre stereotypes than just about any film we’ve seen in recent years.

Director Francesco Munzi’s Black Souls (“Anime nere” in Italian) maintains a nearly unprecedented level of dignity for its type. The film tells the story of three brothers closely connected to N’drangheta, a mafia-like criminal organization based out of Calabria. These three brothers, sons of a shepherd, have differing views on their relationships with N’drangheta, which plays a
See full article at »

Sibling Riflery: Black Souls e eccezionale

“You’re dressed like a shepherd!” Driving around Milan, middle-aged Luigi Carbone (an unrecognizable Marco Leonardi, of Like Water for Chocolate fame) affectionately disparages his 20-year-old nephew, Leo (Giuseppe Fumo), before planting him in a job in his own industry. The only child has fled a Calabrian farm and the father who runs it, Luciano (Fabrizio Ferracane, master of fluctuating facial tics), who is Luigi’s oldest brother. Leo hopes for an exciting and lucrative life better tailored to his needs than herding: working with Luigi, his idol, Uncle Rocco (Peppino Mazzotta), and their childhood pal and staunch ally, Nicola (Stefano Priolo). […]
See full article at Filmmaker Magazine »
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