We’re on the verge of the Twinkling Watermelon finale, and the tension is at its maximum strength. This series has become an integral part of our lives, and we wait for Mondays just to watch a new episode (wishing the blues away). As we approach the last episode, the suspense surrounding Eun-Gyeol’s future intensifies. However, the conclusion of episode 15 is nothing short of surprising. Just as it seemed like everything was falling into place for Eun-Gyeol and his family in 1995, a shocking twist of fate is revealed. Let’s quickly dive into the episode.
Spoilers Ahead
What Happens In The Episode?
In a flashback (for the lack of a better word) from before Eun-Gyeol’s time-traveling expedition, we see Yi-Chan record an original song to participate in the youth competition. Ma-Joo reminds him that they don’t have a band any more thanks to the big fight with...
Spoilers Ahead
What Happens In The Episode?
In a flashback (for the lack of a better word) from before Eun-Gyeol’s time-traveling expedition, we see Yi-Chan record an original song to participate in the youth competition. Ma-Joo reminds him that they don’t have a band any more thanks to the big fight with...
- 11/13/2023
- by Ruchika Bhat
- Film Fugitives
Seeing a Woody Allen movie in 2022 is, it seems fair to say, a curious experience. Those who believe you can’t separate the art from the artist will find copious proof in his latest movie, “Rifkin’s Festival.” But, of course, they’re unlikely to watch it. Those who still celebrate the artist might watch it, but they won’t find much in the way of art.
For his 49th feature film, Allen returns to a well that is not so much dry as desiccated. The movie opens with Wallace Shawn as our Allen doppelgänger, Mort Rifkin. Mort, an anxious former professor, is also a dedicated cinephile and self-defined intellectual who spends the next hour-and-a-half complaining vociferously to his analyst.
He’s reminiscing about a troubled trip to Spain’s San Sebastián Film Festival, which he recently took with his publicist wife, Sue (Gina Gershon). “Film festivals are no longer what they were,...
For his 49th feature film, Allen returns to a well that is not so much dry as desiccated. The movie opens with Wallace Shawn as our Allen doppelgänger, Mort Rifkin. Mort, an anxious former professor, is also a dedicated cinephile and self-defined intellectual who spends the next hour-and-a-half complaining vociferously to his analyst.
He’s reminiscing about a troubled trip to Spain’s San Sebastián Film Festival, which he recently took with his publicist wife, Sue (Gina Gershon). “Film festivals are no longer what they were,...
- 1/26/2022
- by Elizabeth Weitzman
- The Wrap
Italian actress Elsa Martinelli, known to U.S. audiences her breakout role in 1955’s The Indian Fighter opposite Kirk Douglas, died Saturday in Rome at the age of 82, according to Italian media.
Born in Tuscany, Martinelli began her career as a model — appearing in the pages of Vogue and on the cover of Life. She then began taking on smaller roles in films, becoming one of the first models to make the crossover into film and paving the way for stars like Cameron Diaz, Sofia Vergara, and Charlize Theron.
A role in 1954’s Le Rouge et le Noir — the French...
Born in Tuscany, Martinelli began her career as a model — appearing in the pages of Vogue and on the cover of Life. She then began taking on smaller roles in films, becoming one of the first models to make the crossover into film and paving the way for stars like Cameron Diaz, Sofia Vergara, and Charlize Theron.
A role in 1954’s Le Rouge et le Noir — the French...
- 7/8/2017
- by Dave Quinn
- PEOPLE.com
The bloodless Cahiers du cinéma wars induced a vague but hugely influential criterion for what was to be considered good and bad in film. Elaborate sets, one of French cinema’s major traits that, in certain genres, could compete with Hollywood, were deemed stifling and were rejected in favor of urban spaces and real locations.
The infamy that Cahiers du cinéma’s critical bombardment brought to certain filmmakers, at least among a small circle of cinephiles, took years to reverse. While Cahiers du cinéma happened to be more generous to American cinema, fewer French directors were allowed to enter their cannon. If, for instance, one Robert Bresson did, otherwise many Jean Delannoys did not. While the art of some great filmmakers was acknowledged and they were given the throne, many others, who were less stylistically consistent, fell into oblivion.
Today, more than half a century after the Cahiers wars, and regardless of their accomplishments,...
The infamy that Cahiers du cinéma’s critical bombardment brought to certain filmmakers, at least among a small circle of cinephiles, took years to reverse. While Cahiers du cinéma happened to be more generous to American cinema, fewer French directors were allowed to enter their cannon. If, for instance, one Robert Bresson did, otherwise many Jean Delannoys did not. While the art of some great filmmakers was acknowledged and they were given the throne, many others, who were less stylistically consistent, fell into oblivion.
Today, more than half a century after the Cahiers wars, and regardless of their accomplishments,...
- 12/30/2013
- by Ehsan Khoshbakht
- MUBI
Most of us regular folks would only know Mathieu Amalric as “that Roman Polanski-looking* fellow in Quantum of Solace,” but the French multi-hyphenate proved himself behind the camera when, in 2010, he took home Cannes’ Best Director prize for On Tour. In making his feature film follow-up, Variety informs us he’s decided to adapt Stendhal‘s 1830 novel The Red and the Black — which was translated to film in 1954 — a (oddly untitled) project that producer Laetitia Gonzalez claims will be Amalric‘s “most ambitious directorial effort” to date.
The original book revolved around Julien Sorel, an energetic teacher whose attempt to step outside societal lines — an attempt instigated with an affair — causes a stir and threatens to bring everything crashing down. Dramatic meat: it’s here in spades. Now, I’m obviously speaking out of turn, making predictions on a project that’s still in the early days, but it’s probable that Amalric,...
The original book revolved around Julien Sorel, an energetic teacher whose attempt to step outside societal lines — an attempt instigated with an affair — causes a stir and threatens to bring everything crashing down. Dramatic meat: it’s here in spades. Now, I’m obviously speaking out of turn, making predictions on a project that’s still in the early days, but it’s probable that Amalric,...
- 5/25/2012
- by jpraup@gmail.com (thefilmstage.com)
- The Film Stage
Carrying on the Gallic theme of the Cannes Film Festival, we now have news from two major French talents in the form of Charlotte Gainsbourg and Mathieu Amalric who have both lined up their next projects. We also have the first trailer for Pawel Pawlikowski's Paris-set "The Woman In The Fifth," starring Ethan Hawke and Kristin Scott-Thomas.
Gainsbourg will star in comic book artist-turned-filmmaker Riad Sattouf's satirical comedy "Jacky au royaume des filles," roughly translated as "Jacky In Woman's Kingdom." Sattouf latest film is the Cesar-winning "French Kissers," while Gainsbourg is fresh off a starring role opposite former Libertines/Babyshambles frontman Pete Doherty in "Confession of A Child Of The Century," which just screened on the Croisette. 'Jacky' will tackle the story of a young man who falls in love with an attractive colonel (Gainsbourg) and dreams of marrying her, even though she's completely out of his league.
Gainsbourg will star in comic book artist-turned-filmmaker Riad Sattouf's satirical comedy "Jacky au royaume des filles," roughly translated as "Jacky In Woman's Kingdom." Sattouf latest film is the Cesar-winning "French Kissers," while Gainsbourg is fresh off a starring role opposite former Libertines/Babyshambles frontman Pete Doherty in "Confession of A Child Of The Century," which just screened on the Croisette. 'Jacky' will tackle the story of a young man who falls in love with an attractive colonel (Gainsbourg) and dreams of marrying her, even though she's completely out of his league.
- 5/25/2012
- by Simon Dang
- The Playlist
French actor Mathieu Amalric ("The Diving Bell and the Butterfly," "Quantum of Solace") is set to direct a film adaptation of Stendhal's classic 1830 novel "The Red and the Black" for Les Films du Poisson reports Variety.
The story follows an ambitious young teacher whose passionate affair with a wealthy married woman leads to his downfall. Claude Autant-Lara previously adapted the book in 1954.
Amalric is presently writing the script for the as-yet-untitled project which Yael Fogiel and Laetitia Gonzalez will produce this likely international co-production.
The story follows an ambitious young teacher whose passionate affair with a wealthy married woman leads to his downfall. Claude Autant-Lara previously adapted the book in 1954.
Amalric is presently writing the script for the as-yet-untitled project which Yael Fogiel and Laetitia Gonzalez will produce this likely international co-production.
- 5/24/2012
- by Garth Franklin
- Dark Horizons
Mathieu Amalric is set to take the helm of the big screen adaptation of The Red and the Black written by Stendhal. Variety reports that Amalric is reteaming with Les Films du Poisson's Yael Fogiel and Laetitia Gonzalez for the film which tells of an ambitious young teacher whose liaison with a married, wealthy woman, ends up leading to his downfall. This is the second time The Red and the Black has been made into a movie; the last was 1954's Claude Autant-Lara pic Rouge et noir, starring Gérard Philipe, Daniellle Darrieux, Antonella Lauldi and Jean Mercure. Amalric is busy on the script at this point. The actor and director has an abundance of acting credits since 1985 including more recently David Cronenberg's upcoming Cosmopolis starring Robert Pattinson, and prior to that James Bond pic Quantum of Solace...
- 5/24/2012
- Upcoming-Movies.com
Mathieu Amalric is set to take the helm of the big screen adaptation of The Red and the Black written by Stendhal. Variety reports that Amalric is reteaming with Les Films du Poisson's Yael Fogiel and Laetitia Gonzalez for the film which tells of an ambitious young teacher whose liaison with a married, wealthy woman, ends up leading to his downfall. This is the second time The Red and the Black has been made into a movie; the last was 1954's Claude Autant-Lara pic Rouge et noir, starring Gérard Philipe, Daniellle Darrieux, Antonella Lauldi and Jean Mercure. Amalric is busy on the script at this point. The actor and director has an abundance of acting credits since 1985 including more recently David Cronenberg's upcoming Cosmopolis starring Robert Pattinson, and prior to that James Bond pic Quantum of Solace...
- 5/24/2012
- Upcoming-Movies.com
Above: Andrzej Żuławski on the set of Boris Godounov (1989).
The first American retrospective of Andrzej Żuławski offers the chance to discover an auteur whose idiosyncratic vision is as radical, overwhelming and instantly recognizable—it may take no longer than a few shots—as those of canonized masters like Robert Bresson and Andrej Tarkovskij. But maybe Paul Verhoeven would serve as a better comparison, since Żuławski has remained similarly polarizing due to a punchy sensibility that had the French coin the term "Zulawskienne," meaning "over the top." Consider the opening of his first feature The Third Part of the Night (1971): A woman reads out the apocalyptic passage containing the title from the Book of Revelation, only to be struck down minutes later by one of the soldiers on horseback suddenly intruding in her house. Clearly, this is a world where anything can happen, and Żuławski makes sure it does. Then again,...
The first American retrospective of Andrzej Żuławski offers the chance to discover an auteur whose idiosyncratic vision is as radical, overwhelming and instantly recognizable—it may take no longer than a few shots—as those of canonized masters like Robert Bresson and Andrej Tarkovskij. But maybe Paul Verhoeven would serve as a better comparison, since Żuławski has remained similarly polarizing due to a punchy sensibility that had the French coin the term "Zulawskienne," meaning "over the top." Consider the opening of his first feature The Third Part of the Night (1971): A woman reads out the apocalyptic passage containing the title from the Book of Revelation, only to be struck down minutes later by one of the soldiers on horseback suddenly intruding in her house. Clearly, this is a world where anything can happen, and Żuławski makes sure it does. Then again,...
- 3/16/2012
- MUBI
The 22-year-old Bertolucci made an impressive debut in 1962 with The Grim Reaper, a Rashomon-style thriller about the murder of a prostitute scripted by his mentor, Pier Paolo Pasolini. But it was his second film, Before the Revolution (1964), now rereleased to accompany a well-deserved retrospective at London's BFI Southbank, that made his name. Semi-autobiographical, partly inspired by Stendhal's The Charterhouse of Parma, and set in 1962 in his native Parma, the film is deeply indebted to the French new wave and centres on Fabrizio, a 20-year-old introspective haut bourgeois student both attracted to and repelled by middle-class conformity and revolutionary Marxism. He has an incestuous affair with his attractive young aunt (a recurrent theme in Bertolucci's work), and it is altogether a dazzling film, both continually vital and something of a time capsule. I think, however, that his best movies are The Conformist, The Spider's Stratagem, the first part of 1900, and,...
- 4/9/2011
- by Philip French
- The Guardian - Film News
Is it possible to be addicted to a movie? I've watched I Am Love by Luca Guadagnino three times, once in a theater, twice on a Vcr, and I can feel an urge coming on for a fourth fix. Emma Recchi (Tilda Swinton), a Milanese matron from the mega-rich Recchi family, becomes involved with her grown son's best friend, a chef. A commoner, this guy -- which brings to mind the gamekeeper in Lady Chatterley's Lover and Julien Sorel in Stendhal's The Red and the Black. The damage sustained by the Recchi family and business also references Thomas Mann's Buddenbrooks. The film's melodramatic tone, with love presented as an absolute, a religion or calling that must be honored, even as it wrecks lives, suggests director Douglas Sirk, along with opera giants Verdi and Puccini. ...
- 6/16/2010
- by Erica Abeel
- Huffington Post
But Not Me Baby, I'm Too Precious, I Hadda...: Oscar blogger and World's Biggest Sunrise Fan Tom O'Neil is perturbed that Precious (Full title: Precious Based On The Novel "The Charterhouse Of Parma" By Stendhal, oh sorry, Precious Based On The Novel "Push" By Sapphire) didn't get nominated for a Gotham award this year. And he knows who's to blame: "is this just one of those ridiculous, irrelevant side shows we should all just ignore because it's a fluke — a case of huffy film critics acting stubbornly against a popular trend when permitted to decide the nominees of an awards group?"
I know, right? Effing film critics and their huffiness and their effing refusal to go along with a popular trend. What's up with that? For more of O'Neil's critic-hating, check here. As a Snob and a Bad Person, I have to admit: part of me is hoping that...
I know, right? Effing film critics and their huffiness and their effing refusal to go along with a popular trend. What's up with that? For more of O'Neil's critic-hating, check here. As a Snob and a Bad Person, I have to admit: part of me is hoping that...
- 10/23/2009
- MUBI
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