1-20 of 75 items from 2013 « Prev | Next »
The release of Cinema Paradiso was the point at which foreign-language film developed a new sheen for global audiences – complete with heartwarming stories and a hint of the exotic
• Cinema Paradiso: watch the trailer for the 25th anniversary edition
From the start, Cinema Paradiso carries itself like one of the classics its adorable scamp gazes at, open-mouthed, from the projection room. It has an adorable scamp, for starters – and plenty besides: the timeless Sicilian locations, the Felliniesque social carnival, the thunderbolt love affair, humanism lashed about as freely as olive oil. Giuseppe Tornatore's film is a cosy passeggiata down a celluloid Möbius strip looping art into life. When it arrived in the Us in February 1990 – all gilded sequences and grand themes – it seemed like the distillation of the idea of classic foreign cinema.
The two-hour cut – simplifying the characterisation, »
- Phil Hoad
With Paolo Sorrentino’s latest film The Great Beauty (La grande bellezza) provoking strong reactions, both positive and negative, across the globe, Neal Dhand spoke to the man about his motivations behind making the film.
La dolce vita is a masterpiece, and like all masterpieces, in some way, it alters our way of feeling, our perception of things. It is a movie that has burrowed away inside me for a long time. But La dolce vita is a masterpiece. La grande bellezza is only a movie.
- Neal Dhand
(Federico Fellini, 1963; Argent Films, 15)
With La Dolce Vita, Fellini created a new, fantastical, personal, expressive style of film-making to succeed the fading neorealism that had dominated the Italian cinema since the second world war. With Otto e Mezzo, he went even further. He made the most avant-garde movie ever to become a major international success, a film where dream, nightmare, memory and reality intermingle in the story of Guido Anselmi (Fellini's handsome cinematic alter ego), a successful director suffering a serious crisis. Guido has embarked on an expensive production, a science-fiction film with an enormous set already built of a spaceship launch pad. Unfortunately, he's suffering from the equivalent of a writer's block. Surrounded by a variety of people dependent on him – a beautiful, resentful wife (Anouk Aimée), a demanding mistress (Sandra Milo), numerous actors, increasingly anxious producers – he has no idea how to complete his ambitious, determinedly honest picture. »
- Philip French
Switching easily between Fright Night, Jane Eyre, Centurion and the upcoming Need For Speed, Imogen Poots always seems to make an impact. She’ll be taking on an ingénue role for a new film, as she’s set to star in Todd Field’s latest, Beautiful Ruins.Adapted by Field and author Jess Walter from her best-selling book, Ruins is described as an epic story that begins off the Ligurian coast in the spring of 1962. It focuses on four characters whose orbit around one another is set in motion by an incident in that international jet-set centre, Rome, in the throes of “La Dolce Vita” madness during the shooting of Cleopatra.Poots will be Dee Moray, a young actress who catches the eye of several men, including a studio raconteur, a World War Two veteran in the midst of creative blocks on his first novel, a young Italian hotelier and even acting icon Richard Burton. »
Todd Field is one of my favourite directors, despite having only directed two feature length films in 12 years. But who cares when those two films were the staggeringly unforgettable In The Bedroom and Little Children. Both of these dramas rocked to my core, and so it’s great to hear that the actor turned director (he was in Twister don’t you know?) is to return for a third film. The oxymoronic Beautiful Ruins , will star Imogen Poots as actress Dee Moray, in a highly complex dramatic piece based on the novel of the same name. Cross Creek Productions and Smuggler Films will bring this 1962 set novel to life and you can read the press release below.
Cross Creek Pictures along with Smuggler Films announced today that Imogen Poots is attached to star as the young ingénue, “Dee Moray,” in Todd Field’s Beautiful Ruins, based on the sensational #1New »
- Luke Ryan Baldock
Cross Creek Pictures along with Smuggler Films announced today that Imogen Poots is attached to star as the young ingénue, "Dee Moray," in Todd Field's Beautiful Ruins, based on the sensational #1New York Times best-selling novel by Jess Walter, which has sold more than a million copies and been translated into 25 languages. Beautiful Ruins was adapted by Field and Walter, and Field will produce the film through Standard Film Company with Cross Creek's Brian Oliver and Tyler Thompson, as well as Smuggler Films' Patrick Milling Smith and Brian Carmody. In addition, Adam Kassan will oversee production for Cross Creek Pictures. Filming starts May 2014 in Italy.
The epic story begins off the Ligurian coast in the spring of 1962 and centers on four characters whose orbit around one another is set in motion by an incident involving the international jet-set center, Rome, in the throes of La Dolce Vita »
Todd Field will direct the adaptation of Jess Walter’s bestseller about a young actress on the Ligurian coast in 1962 at the time of La Dolce Vita and her relationship with four very different men, one of whom is Richard Burton.
Poots will play Dee Moray and the producers are out to casting for the male characters.
Field and Walters co-wrote the screenplay and will produce through Standard Film Company with Cross Creek’s Brian Oliver and Tyler Thompson and Smuggler Films’ Patrick Milling Smith and Brian Carmody.
CAA packaged the project and represents domestic rights. No international sales agent was on baord at time »
- email@example.com (Jeremy Kay)
After making side trips to California’s Central Coast and Hawaii (for “Sideways” and “The Descendants,” respectively), Alexander Payne returns to his home state of Nebraska for his sixth directorial feature, a wistful ode to small-town Midwestern life and the quixotic dreams of stubborn old men. Sporting a career-crowning performance by Bruce Dern and a thoroughly impressive dramatic turn by “SNL”/“30 Rock” alum Will Forte, Payne’s first film based on another writer’s original screenplay (by debut feature scribe Bob Nelson) nevertheless fits nicely alongside his other low-concept, finely etched studies of flawed characters stuck in life’s well-worn grooves. Black-and-white lensing and lack of a Clooney-sized star portend less than “Descendants”-sized business, but critical hosannas and awards buzz should mean solid prestige success for this November Paramount release.
— Scott Foundas
Read the full review
Back in 1999, Malcolm D. Lee’s debut feature, »
- Variety Staff
With seven years passing since Todd Field's last film, 2006's "Little Children," fans of the director have had to be patient in waiting for his next movie. Taking a Stanley Kubrick-like stretch between pictures (the late filmmaker was a mentor to Field, who had a small role in "Eyes Wide Shut"), five years spanned between his debut feature "In The Bedroom" and his aforementioned sophomore film. But it looks like things are finally happening for "Beautiful Ruins," as the project now has a lead actress. The rising Imogen Poots ("Fright Night," "Jane Eyre") has bagged the lead role in the adaptation of Jess Walter's bestselling novel. Field adapted the screenplay that is set in the spring of 1962 off of the Ligurian Sea. It centers on three young characters whose orbit around one another is set in motion by an incident during the shooting of "Cleopatra" and continues on for decades. »
- Kevin Jagernauth
In Paolo Sorrentino’s lavishly received Italian crime potboiler Il Divo, the stage is set with a world building montage that places us in a blood-bathed Rome ruled by politically backed hit men, and finally settles in, dollies up, and asks it’s leading man, Toni Servillo giving his best dead-eyed Giulio Andreotti impression, to stare straight into the camera and speak directly on how others seem to perceive him. Bizarrely, The Great Beauty begins almost the exact same way, but this version of Rome is not one of physical violence and political intimidation, but one solely focused on aristocratic appearances and the reciprocation of surface relationships.
Servillo, this time living in the skin of a facetiously jaded, secretly sulking part-time journalist and eternal socialite named Jep Gambardella, is found standing in the midst of his own lavish 65th birthday party, »
- Jordan M. Smith
Moonrise Kingdom director says he would consider making a 3D film; and would like to turn his new short for Prada into a series set around the world.
Wes Anderson discussed 3D, animation and an idea for a series of shorts at the Rome Film Festival this evening [Nov 13], where he introduced the world premiere of a short sponsored by Italian fashion label Prada.
Together with cinematographer Darius Khondji, they worked on Castello Cavalcanti, an eight-minute short centred on racing driver Jed Cavalcanti and set during Italy’s Molte Miglia rally in September 1955.
Shot at Rome’s famous Cinecitta studios, where Federico Fellini made La Dolce Vita, it opens with Cavalcanti (Schwartzman) crashing his car in a village square, where the racing driver soon discovers he has a connection with the people »
- firstname.lastname@example.org (Michael Rosser)
Not Rated, 1 Hr., 35 Mins.
So relentlessly bleak that you’d have to be a masochist to make it to the end credits, Sunlight Jr. stars Naomi Watts and Matt Dillon as doomed Florida lovers who can’t catch a break. He’s a drunk drowning in self-pity in a wheelchair while she busts her hump working the graveyard shift at a convenience store. Here’s one snapshot of the Sunshine State that no one wants a postcard of. (Also available on iTunes and VOD) C- —Chris Nashawaty
R, 1 Hr., 45 Mins.
After Superstorm »
- EW staff
If one wanted to make the case for both the historical importance and the continuing creative vitality of the Italian cinema, it would be tough to top the pairing Cinema Italian Style honorees Bernardo Bertolucci and Paolo Sorrentino. The two filmmakers combine the scope of Italian cinema. This makes this year’s Cinema Italian Style celebration in Hollywood a great chance for fans of European film to explore Italy’s key role in its development and continuing importance.
Oscar-winning director Bertolucci’s place in cinema history is assured, and one of his masterworks, “The Last Emperor,” is getting the 21st century treatment at Cis via a newly created 3D version that will unspool at the AFI Fest Nov. 10 before hitting theaters and homevideo.
The 3D version of the film preemed at Cannes earlier this year in celebration of its 25th anniversary.
Vet Italian producer Roberto Cicutto, who’s also CEO of Cis’ co-producing partner, »
- Steven Gaydos
Some movies come barreling out of their caves like armies on the sociocultural warpath, self-consciously defining themselves as psychographic events, marking The Way Things Are Now and becoming part of history in the process. Given the ambition, we should embrace these rare explosions when they happen, even more so now perhaps than in the '60s, when such filmmaking hubris was thick on the ground.
Paolo Sorrentino's The Great Beauty blasts off from its very first plunge into the social stew of contemporary Rome, conscientiously reinventing Fellini's La Dolce Vita for the 21st century and nailing the city's chattering leisure class to the wall for all time. There's little sense in trying to resist the film's relentless boogie-woogie party vibe, its tumultuous vis »
A total of 24 co-production projects and sections devoted to China, digital and remakes help make up Rome’s industry events.
The 8th Rome Film Festival (Nov 8-17) has revealed details of its International Film Market ahead of its launch next week.
Rome’s key industry initiatives – the informal The Business Street (TBS) screenings market and the New Cinema Network (Ncn) co-production market – will run from Nov 13-17.
Organisers are expecting distributors and producers from 45 countries and 700 accredited visitors as well as 24 selected projects, a China Day and a new initiative dedicated to remakes as well as meetings, panel discussions and conferences.
Single venue; digital focus
But for the first time both TBS and Ncn will be held in a single venue, the Hotel Bernini Bristol.
The Terrace will host the buyers and sellers »
- email@example.com (Michael Rosser)
A new official trailer has arrived for Paolo Sorrentino's "The Great Beauty," Italy's Oscar selection for this year's Foreign-Language race. The film is a formally gorgeous, lyrically shot epic following an aging journalist (the eminently watchable Toni Servillo of "Il Divo" fame) floating through Rome's never-ending party scene. Think the sick soul of Europe with a thumping baseline. Servillo's character contemplates a lost love, as well as the one novel he wrote decades earlier, hailed as a masterpiece. Watch the trailer below, plus check out our review roundup. "The Great Beauty" hits New York theaters November 15, and La November 22, via Janus Films. The Guardian:Paolo Sorrentino has returned to Cannes with a gorgeous movie, the film equivalent of a magnificent banquet composed of 78 sweet courses. It is in the classic high Italian style of Fellini's La Dolce Vita and Antonioni's La Notte: an aria of romantic ennui among »
- Beth Hanna
Italy leads the world of cinema in mourning a man whose films were a blend of reality, wit, fantasy and brazen self-indulgence
The renowned film director Federico Fellini died at midday yesterday, ending a 90-day struggle for health and later for life, and closing an era in both 20th century Italian culture and world cinema.
On the day after his 50th wedding anniversary, Fellini's heart finally gave way under the stress of a haemorrhage which had crippled his left side.
He died, aged 73, in the Umberto I Polyclinic hospital in Rome, although he first fell ill in his home town of Rimini on August 3. Fellini insisted on leaving the Rome hospital as late as October 17 for the evening to take his wife, Giulietta Masina, to dinner. He went into the coma soon afterwards.'Fifty years ago,' said Ms Masina, 'I realised that this was a man for me. »
- Ed Vulliamy
Paolo Sorrentino to receive Starz Denver Film Festival 2013 honor Italian filmmaker Paolo Sorrentino will receive the fifth Maria and Tommaso Maglione Italian Filmmaker Award at the 2013 Starz Denver Film Festival. Sorrentino will be handed his award prior to the screening of The Great Beauty / La grande bellezza on November 16, 2013, at 1:00 p.m. at the Sie FilmCenter. Sponsored by the Anna & John J. Sie Foundation, the award, which "recognizes the best in contemporary Italian cinema," includes a $10,000 honorarium. Previous recipients of the Maria and Tommaso Maglione Italian Filmmaker Award are Paolo and Vittorio Taviani, Massimo Natale, Gianni Di Gregorio, and Federico Bondi. ‘The Great Beauty’ The Starz Denver Film Festival press release describes Paolo Sorrentino’s The Great Beauty — clearly influenced by Federico Fellini’s La Dolce Vita — as follows: Populated by the debauched, disenchanted or simply disinterested elite of Roman society, Sorrentino’s latter-day Babylon revolves around Jep Gambardella »
- Anna Robinson
Cinema Italian Style 2013 will kick off on November 14 in Hollywood with the Us premiere of Paolo Sorrentino’s Italian foreign-language Oscar submission The Great Beauty.
Sorrentino will be joined on the red carpet by Bernardo Bertolucci, both of whom will receive the Cinema Italian Style Award prior to the screening.
The 2013 edition of Cinema Italian Style runs from November 14-18 and is dedicated to Federico Fellini in commemoration of his death 20 years ago.
For the full line-up visit the official website. »
- firstname.lastname@example.org (Jeremy Kay)
Lost in Translation, released in 2003, was written and directed by Sofia Coppola, daughter of one of Hollywood’s iconic directors/auteurs, Francis Ford Coppola. In spite of this obvious connection, the film is more of an independent film than a mainstream one. I want to try and look at Coppola’s use of image, music and silence to convey meaning, as well as briefly discussing the possible inspirations of these unconventional techniques used throughout the film.
With a budget of just $4 million, and shot in just 27 days in October 2002, it is no surprise that Coppola abandons the classical Hollywood narrative plot structure (a three-act structure with regular plot points, inciting incidents and narrative arcs etc.) for a minimalist plot and focuses solely on the relationship between her two main characters. These are Bob (Bill Murray), a middle-aged movie star in Tokyo to shoot Suntory Whiskey commercials, and Charlotte (Scarlett Johansson »
- Anu Nande
1-20 of 75 items from 2013 « Prev | Next »
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners