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Baraka (1992)

Baraka (1992)
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"Fitzcarraldo", le tournage apocalyptique | Fitzcarraldo | Tracks Les tournages pépère dans le marais poitevin, c'est pas pour lui. Werner Herzog envisage chacun de ses tournages comme une expédition. Son dada : le danger. Filmer dans la gueule du volcan à deux doigts de l'éruption, dans les rapides au pied du Machu Pichu, ou à plus de 30 mètres sur la cime des hévéas d'Amazonie, le réalisateur conquistador collectionne les défis. En vrai mercenaire, Werner a fait son Vietnam : le tournage apocalyptique du film "Fitzcarraldo". Son sauveur s'apelle alors Klaus Kinski. Alors que personne n'y croit, Herzog réussit l'impensable. VidéoLa bande annonce du film Klaus Kinski en colère sur le plateau de "Fitzcarraldo"

Arte - Vers un crash alimentaire bio végétarien Interstellar Timeline 70 Years Later, World War II Still Defines Good and Evil by Robert Montenegro If you watched the new Star Wars trailer last week, you probably spotted some very Leni Riefenstahl-esque scenes featuring stormtroopers: the massive architecture, uniform lines of troops, dominating symbols of power. The references to Nazi Germany aren't what you'd call subtle. They don't need to be. Historian Anthony Beevor explored this topic in an article published last week at The Daily Mail. "I think it is because we now live in a demilitarised society – a health-and-safety environment almost devoid of personal risk and moral decisions. Beevor believes that our current world is relatively bereft of conflict and moral dilemma. Beevor also makes several interesting points about how we too often (wrongly) look to World War II as a teaching tool for the future. This final point relates to something I'd like to add. The war's continued influence on storytelling can therefore be summed up simply. And let's certainly hope it remains that way.

David Lynch Cinematic Irony: The Strange Case of Nicholas Ray’s Johnny Guitar - Feature - Issue #13 Cinematic Irony: The Strange Case of Nicholas Ray’s Johnny Guitar Westerns and “Westerns” There is little question that Nicholas Ray’s Johnny Guitar (1954) is immediately recognizable as an instance of a genre that had become quite important to Hollywood well into the 1950s. It is a Western. It is set in the West in the post-Civil War nineteenth century (probably in New Mexico; Albuquerque is mentioned a couple of times), people ride horses, drink whiskey in saloons, dress in the usual Western clothes and wear six shooters. The future, it would seem. The present and past, perhaps, but again rather self-consciously displayed, as if primarily decorative. The central social conflict in the film is one between the townspeople, led by Emma and to some extent by a cattleman, John McIvers (Ward Bond), and the saloon owner, Vienna, who, more than anyone in the town, is pro-railroad. Near to parody, but it never crosses the line. Genre-Bending Counterpoint

Nel labirinto della Mente – “Inception”: l’ingannevole realtà del sogno Con Nel labirinto della Mente, vi propone una serie di film caratterizzati da trame in cui la psiche umana è protagonista, generando sub-realtà capaci di trarre in inganno sia i protagonisti della vicenda che il pubblico: il nuovo appuntamento è con un dramma camuffato da thriller diretto da un acclamato cineasta contemporaneo. Le rivelazioni sono dietro l’angolo, per cui, occhio allo spoiler! Dom Cobb (DiCaprio) e uno dei suoi collaboratori, Arthur (Joseph Gordon-Levitt), in azione Vincitore di 4 Oscar e di un numero notevole di premi ricevuti in occasione delle manifestazioni cinematografiche a cui ha partecipato in tutto il mondo, il film INCEPTION (2010) ha per protagonista Dom Cobb (Leonardo DiCaprio, SHUTTER ISLAND), conoscitore di una tecnica capace di valicare le barriere delle Menti altrui, entrando in esse ed agendo al loro interno mentre il soggetto ospite giace assopito nella realtà. Il totem usato dall’Architetto Ariadne (Ellen Page) L’anziano Mr.

La donna che visse due volte Due anni or sono Adelphi ha dato avvio alla pubblicazione di una serie di romanzi firmati dal duo Pierre Boileau-Thomas Narcejac; prìncipi del noir, di loro abbiamo già letto su questo foglio I diabolici prima, e Le incantatrici dopo. Ora un terzo e celebre volume, La donna che visse due volte (Adelphi, pp. 196, euro 18), da cui Alfred Hitchcock trasse Vertigo, inchiodante capolavoro, ci finisce tra le mani come un dono prezioso e sorprendente. Bello ma infedele – come ha detto qualcuno – il film del 1958 in effetti diverge in più punti rispetto alle pagine del libro; per l’ambientazione e il tempo (non la San Francisco in cui camminano James Stewart e Kim Novak, ma la Parigi plumbea di pioggia, non la pace degli anni Cinquanta ma la guerra mondiale), e pure perché l’atmosfera inquietamente colorata di Hitchcock è sensibilmente diversa dalla primigenia immersione nelle tinte negre dell’angoscia che qui si leggono.

Being Winston Wolfe: 9 Reasons Why 'Pulp Fiction' is the Management Guide Every Indie Filmmaker Needs Winston Wolfe in "Pulp Fiction." Remember Harvey Keitel as Winston Wolfe? Of course you do. His appearance in “Pulp Fiction” as the fixer, the cleaner who knew how to take care of Jules’ and Vincent’s boneheaded mistakes, was a model of efficiency under pressure -- a no-nonsense performer who got the job done with style. And, as producer Justin Szlasa presents in this terrific essay, if every movie set were run by Winston Wolfe, the world would be a better place. Szlasa recently produced the digital filmmaking doc “Side By Side” that premiered at the Berlin International Film Festival. It looks like the time he spent in that considerably wonkier arena will serve him well as an independent filmmaker. However, there’s a dearth of Winston Wolfes in the world, and certainly on indie film sets. So here’s Justin Szlasa’s take on how to do just that. -- Dana Harris THE WOLF I'm Winston Wolfe. We read the trades and attend panel discussions. We have excuses. Prioritize This seems obvious.

Vertigo is named 'greatest film' 2 August 2012Last updated at 03:47 ET Kim Novak starred in Alfred Hitchcock's 1958 suspense thriller Alfred Hitchcock's Vertigo has replaced Orson Welles's Citizen Kane at the top of a poll that sets out to name one film "the greatest of all time". The British Film Institute's Sight and Sound magazine polls a selected panel once a decade and Citizen Kane has been its top pick for the last 50 years. This time 846 distributors, critics and academics championed Vertigo, about a retired cop with a fear of heights. Starring James Stewart and Kim Novak, Vertigo beat Citizen Kane by 34 votes. In the last poll held 10 years ago, Hitchcock's 1958 thriller came five votes behind Welles's 1941 classic. Its triumph coincides with the launch of the BFI's Genius of Hitchcock season, a major retrospective celebrating the acclaimed "master of suspense". Camera trick Vertigo, the film Hitchcock regarded as his most personal, sees the director tackle obsessional love, one of his recurring themes. 1. 2. 3. 4. 5.

Mulholland Drive leads the pack in list of 21st century's top films | Film David Lynch’s surrealist masterpiece Mulholland Drive, which even its most ardent fans admit is as maddeningly baffling as it is mesmerising, has been named the greatest film of the 21st century. A poll by BBC Culture of 177 film critics from 36 countries aimed to find the best films of recent memory. The resulting top 100 list has Mulholland Drive (2001) at No 1, followed by Wong Kar-wai’s In the Mood for Love (2000); There Will Be Blood (2007); Spirited Away (2001); and Richard Linklater’s Boyhood (2014). The most popular directors in the list, all with three films each, were Wes Anderson, Apichatpong Weerasethakul, Christopher Nolan, Michael Haneke, Paul Thomas Anderson and Joel and Ethan Coen. Matthew Anderson, the editor of BBC Culture, said greatest film polls often looked right back into the past. “But we wanted to find out about the best films in recent memory. Each critic was allowed to submit 10 films which resulted in a total of 599, then sorted into the top 100. 29. 49. 81 A.I.

Breaking down the glorious first scene of Inglourious Basterds The opening scene of Quentin Tarantino’s Inglourious Basterds is a drawn-out masterclass in tension that also functions as a prologue and an introduction to Christoph Waltz’s legendary antagonist Hans Landa. While the larger movie it’s attached to has an uncertain place in critical evaluations of Tarantino’s work, the scene itself is one of the most acclaimed of the director’s career. A new video from Lessons From The Screenplay digs into exactly how he pulled it off, using (as the name would suggest) Tarantino’s writing as a guide. Filmmaker Michael Tucker views the scene’s 17 pages through the lens of the philosophy and psychology of suspense, noting how the introduction of instability (here in the form of Nazis approaching an idyllic farmhouse) makes us yearn for a return to stability. It’s a smart analysis of the video that also ropes in plenty of archival footage of Tarantino describing the scene himself, which is always revealing and suspenseful in its own way.