When To Tanbefore A Trip

The cinema crazy and extreme FFC: The film Tetro


Dark, dark, dull, dreary. Bleak as Tetrocini: Charles, Alfred Angelo, Bennie. A family in which to mingle with the secrets, resentments and generosity to the competition, and the posting of compensation. Back in style of Francis Ford Coppola after all, bristly, sometimes unresolved Youth Without Youth (Youth Without Youth , 2007). A return that is a dip in what has been successful before, upsets and failures: the cinema of pure and unspoiled The Rain People ( not Rain , 1968) or the direct ancestor Rumble Fish ( Rumble Fish , 1983), full of experimentation, free from any type of magnet spectacular. Zero degree of poetic coppoliana, as the brilliant black and white that dominates the film.


Tetro ( Tetro ) is the family odyssey that passes through three generations. Angelo said Tetrocini Tetro (the face square and impenetrable by Vincent Gallo) is a writer in full crisi, trasferitosi in Argentina per ritrovare (o perdere) sé stesso. Suo padre Carlo è un geniale direttore d’orchestra, sebbene abbia sottratto questo incredibile talento al fratello Alfie (meravigliosi i due interpreti: Klaus Maria Brandauer & Klaus Maria Brandauer). Recriminazioni e ossessioni che ritornano con l’arrivo di Bennie (Alden Ehrenreich), giovane marinaio che darà una svolta improvvisa a passato, presente e futuro. Come una luce che abbaglia, squarcia un velo e acceca una intera esistenza.


Nonostante i toni intimi, quasi sommessi, l’epica dinastia di Tetro si nutre di un cinema libero e selvaggio, ironico e autobiografico. The black and white, working-class neighborhoods of Buenos Aires, but the squalid lives (and improvised) theater, a trip to Patagonia, wacky characters that invade the scene (above all, the criticism Alone embodied by a superb Carmen Maura) are pieces of an imaginary crazy, bizarre, delicious. It's the pictures that you (dis) is, at times hypocritical and false (the literary award and the theater's gala, reflective screens and sequins), sometimes dazzling and necessary to reconstruct a vortex that is the path of a lifetime. It is so unexpected that there's flashback where color explodes and comes melodrama, fantasy, in that corner where Powell and Pressburger construct and enact their Scarpette rosse .


Perché come ha affermato lo stesso Coppola, «nulla di quello che avete visto in questo film è veramente successo. Ma è tutto vero». Come è vero che Tetro è stato scritto, diretto, prodotto e distribuito negli Usa (in Italia da Bim, un applauso) dal regista. Dopo anni di sacrifici economici, fallimenti, progetti abortiti, Tetro rivive come una rinascita dal basso. La politica degli autori torna prepotente a riaffermare con il suo miglior interprete il primato ed il candore del cinema indipendente.

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that documents: Anges Varda


«È difficile trovare la propria identità femminile in society, in private life, in relationships with their bodies. This search for identity is a way for a filmmaker: it also means running as a woman. " Word of Agnès Varda . Central figure in the history of cinema, not just French, not just women. Born in Brussels May 30, 1928, has completed his meetings in Paris that its essential life. These include Jacques Demy, her future husband, and Alain Resnais, who helped in the assembly of the first film La Pointe courte (1954). Someone talks about Nouvelle Vague, label consistently refused by the director, the cage too close to be tolerated.


Rather, in the films of Agnès Varda live together disparate elements: the essential stillness of photography, plans and fixed the deep spaces of documentary realism, visionary ideas drawn from different newspapers. A linguistic research that leads the director to develop the concept of cinécriture , writing for the cinema directly, without intermediaries literary or theatrical, having in mind the scenes, movements, deadlifts. It is here that comes a modern way of making a film, which differs from that of the past (de cinéma pope as opposed by members of the Cahiers du cinéma ") and anticipates future developments in narrative. Cléo de 5 à 7 (1962) is her first success story of a young singer (Corinne Marchand), pending a medical diagnosis that could be a terrible disease. The fear of death, (re) discovery of a profound identity, openness to the Other, the role of appearances, the fear of waiting. Reality and imagination blend, there is no distance between everyday life and fiction.


Le bonheur (The meadow of love , 1965) is another chapter in soft and hard feelings and emotions, family photo of happiness and found broken. Strong ambiguity travel instead Les Creatures (1966), beautifully starring Michel Piccoli and Catherine Deneuve. The decisive factor is the political commitment of Varda, a witness to a turbulent social period: in 1968 turns Loin du Vietnam with Chris Marker, Joris Ivens, Claude Lelouch, Jean-Luc Godard, William B. Klein and Alain Resnais, the 1963 is Salut les cubains! , short of mounting on a trip to Cuba at the time of Castro's revolution. This is his way of working: fix a photo, a body, an object, and imagine a story, a path. As Ulysse (1982) - made from the photograph of a child in the company of a dead goat and a naked man from behind, taken in 1964 - or Sans toit ni loi ( Homeless lawless , 1985), a film that makes you win the Golden Lion at Venice. Opera cut and polish dry, 'nomadic' as the main character played by Sandrine Bonnaire, including the anthropological documentary (without moral blackmail of any kind) and the mysterious lyricism, with sudden and ironic questions that remain (deliberately) missed.


In 1987 he dedicated to his friend Jane Birkin Jane B. par Agnès Varda , with the same actress realized the following year Kung-Fu Master, morbid affair in the balance between past and present, familiar also in the cast, consisting of Charlotte Gainsbourg (daughter della Birkin) e Mathieu Demy (figlio della regista e di Jaques Demy). Proprio al compagno è dedicato il doloroso Jaquot de Nantes (1990), ritratto degli anni giovanili e dei ricordi legati al marito da poco scomparso, in un intreccio straziante di arte e vita. Il film fa il paio con il sentito e commosso Garage Demy (1991), percorso esistenziale che esalta l’amore per il cinema ed il suo potere evocativo. Materializzazione dei sogni che Les cent et une nuits (1995) mette in scena con delicatezza e passione: un excursus sulla storia della settima arte, affidata alle lacune di memoria di Monsieur Cinéma (Michel Piccoli) rinfrescate dalla giovane e bella Camille (Julie Gayet) e dall’amico Italian Marcello Mastroianni.


recent years to bring a dowry of Agnes Varda's a load of new ideas and creative impulses. Les glaneurs et glaneuse (2000) is a documentary shot by junk dealers, junk dealers and scavengers, and gleaners Gleaners today. People who recover things thrown by other people. And thanks to the waste of a consumer society, they hope to survive. Exclusion of what the film, the director reveals a powerful portrait, because the gathering of these characters is like his film. In the words of François De Backer, "Agnès Varda captures the unusual, injustice, poverty, but also the symbiosis with nature, the pleasure of living in the open, simple gestures and oblivious of the collection. " Deux ans après (2002) is an appendix to Les glaneurs et glaneuse , what the people I met and filmed the previous work have become over time, "a film true, joyous, exciting and challenging as the first: Inspired by the extraordinary number of letters received, the message of admiration, but also by objects, patterns and information from its edges "(Jean-Michel Frodon). Until you reach the last Les Plages d'Agnès (2008), another patchwork of images, stories, fragments of film, dating from the evocative. This time, the beaches are to serve as a tattered snapshot of memory to make up a small, basic private universe. The Venice Film Festival returns to reward them with the prize "Jaeger-LeCoultre Glory to the Filmmaker". She returns in Edition 66 of 2009, giving Angela Ismailos moods and impressions from his Parisian courtyard for Great Directors .

The Poetics of lying vrai, the 'true lie', found in Agnès Varda symptomatic exposure. A cinema that 'documents', because the sinking of the camera lens in reality, and at the same time captures features hidden, intimate, almost invisible. A film that has made its cinécriture digit qualifier, because "the style of the film depends on the script. The cinécriture is a comment and a script that you write continuously for the duration of filming. " As a life long shots.