Am 15. August startet Arsenal Filmverleih den Dokumentarfilm über das erste Konzert eines nicht klassischen Musikers in der Mailänder Scala in den deutschen Kinos. Jetzt wurde der Trailer veröffentlicht.
Giorgi Testis Dokumentarfilm beschreibt ein ganz besonderes Konzertereignis, als die Mailänder Scala ihre Türen am 19. Februar 2023 erstmals für einen nicht-klassischen Künstler öffnete für das der Liedermacher, Komponist und Instrumentalmusiker Paolo Conte eine spezielle Setlist entworfen hatte. „Paolo Conte alla Scala”, den Arsenal Filmverleih am 15. August in den deutschen Kinos startet, dokumentiert nicht nur dieses außergewöhnliche Konzert, sondern auch die Vorbereitungen und Proben dazu. Darüber hinaus erzählt Paolo Conte darin seine Geschichte und spricht über seine ganz besondere Beziehung zur Musik.
Giorgi Testis Dokumentarfilm beschreibt ein ganz besonderes Konzertereignis, als die Mailänder Scala ihre Türen am 19. Februar 2023 erstmals für einen nicht-klassischen Künstler öffnete für das der Liedermacher, Komponist und Instrumentalmusiker Paolo Conte eine spezielle Setlist entworfen hatte. „Paolo Conte alla Scala”, den Arsenal Filmverleih am 15. August in den deutschen Kinos startet, dokumentiert nicht nur dieses außergewöhnliche Konzert, sondern auch die Vorbereitungen und Proben dazu. Darüber hinaus erzählt Paolo Conte darin seine Geschichte und spricht über seine ganz besondere Beziehung zur Musik.
- 7/8/2024
- by Jochen Müller
- Spot - Media & Film
Hulu’s buzzy new erotic thriller “Deep Water” debuted on March 18 and has been trending on Twitter ever since, thanks to a bizarre plot that feels like chunks were left on the cutting room floor, as well as the sultry performances of one-time real-life couple Ben Affleck and Ana de Armas. But what makes this movie special are the bizarrely specific choices made along the way, from jaw-dropping lapses in judgement to a singular obsession with snails. Variety has cobbled together some burning questions from some of the film’s most outrageous moments, along with helpful timestamps so we can unravel these mysteries together.
Warning: there are Spoilers for the entirety of “Deep Water” ahead, as well as some sexual language describing this very horny movie.
1:25 — We meet Vic Van Allen (Ben Affleck) after he’s taken a long bike ride. But when he removes his shoes, there are no socks to be found.
Warning: there are Spoilers for the entirety of “Deep Water” ahead, as well as some sexual language describing this very horny movie.
1:25 — We meet Vic Van Allen (Ben Affleck) after he’s taken a long bike ride. But when he removes his shoes, there are no socks to be found.
- 3/21/2022
- by William Earl
- Variety Film + TV
This was the original release weekend for ‘Wonder Woman 1984’ before its Covid-induced delay.
France, Wednesday, September 30
French comedy My Cousin by Jan Kounen was the biggest release of the week in France on just under 700 prints for Pathé. Vincent Lindon stars as the uptight chief of a family business empire on a mission to get his wayward cousin, who owns half its shares, to sign off on a mega-deal.
Cannes 2020 label feature animation Josep was the second widest launch on 200 prints for Sophie Dulac Distribution. This was followed by Israeli-French drama The End Of Love by Keren Ben Rafael...
France, Wednesday, September 30
French comedy My Cousin by Jan Kounen was the biggest release of the week in France on just under 700 prints for Pathé. Vincent Lindon stars as the uptight chief of a family business empire on a mission to get his wayward cousin, who owns half its shares, to sign off on a mega-deal.
Cannes 2020 label feature animation Josep was the second widest launch on 200 prints for Sophie Dulac Distribution. This was followed by Israeli-French drama The End Of Love by Keren Ben Rafael...
- 10/2/2020
- by Ben Dalton¬Martin Blaney¬Gabriele Niola¬Melanie Goodfellow
- ScreenDaily
With Telluride Film Festival forced to cancel their yearly event, what is now the first of the major fall festivals, Venice, has announced their complete lineup. Along with Chloé Zhao’s Nomadland, which was revealed yesterday, the lineup includes more of our most-anticipated films of the year, including Frederick Wiseman’s City Hall, Kiyoshi Kurosawa’s Wife of a Spy, Gia Coppola’s Mainstream, Abel Ferrara’s Sportin’ Life, Lav Diaz’s Genus Pan, Mona Fastvold’s The World to Come, Kornél Mundruczó’s Pieces of a Woman, Gianfranco Rosi’s Notturno, and more.
There were also a few surprises in the lineup. Luca Guadagnino has directed a new documentary titled Salvatore: Shoemaker of Dreams, while Alice Rohrwacher and Jr have teamed for the new short film, Omelia Contadina. Quentin Dupieux’s Mandibules will also premiere out of competition.
In perhaps the best surprise of all, a new, recently uncovered film by Orson Welles,...
There were also a few surprises in the lineup. Luca Guadagnino has directed a new documentary titled Salvatore: Shoemaker of Dreams, while Alice Rohrwacher and Jr have teamed for the new short film, Omelia Contadina. Quentin Dupieux’s Mandibules will also premiere out of competition.
In perhaps the best surprise of all, a new, recently uncovered film by Orson Welles,...
- 7/28/2020
- by Jordan Raup
- The Film Stage
The Venice Film Festival is unveiling the lineup of its 77th edition, which, barring complications, will be the first major international film event to hold a physical edition following the coronavirus crisis.
Previously announced titles include Chloé Zhao’s road drama “Nomadland,” starring Frances McDormand, which will screen at Venice and Toronto simultaneously on Sept. 11, in both cases preceded by virtual introductions.
The out-of-competition opener will be Italian director Daniele Luchetti’s anatomy of a marriage drama “Lacci” (“The Ties”) (pictured) starring Alba Rohrwacher (“Happy as Lazzaro”) and Luigi Lo Cascio (“The Traitor”) as the couple at the film’s center.
The virtual press conference is scheduled to begin at 11am Cet. This post will be updated live as films are revealed.
Venice Film Festival Lineup
In Competition
“In Between Dying,” Hilal Baydarov
“Le Sorelle Macaluso,” Emma Dante (Italy)
"The World to Come,” Mona Fastvold (U.S.)
“Nuevo Orden,” Michel Franco
"Lovers,...
Previously announced titles include Chloé Zhao’s road drama “Nomadland,” starring Frances McDormand, which will screen at Venice and Toronto simultaneously on Sept. 11, in both cases preceded by virtual introductions.
The out-of-competition opener will be Italian director Daniele Luchetti’s anatomy of a marriage drama “Lacci” (“The Ties”) (pictured) starring Alba Rohrwacher (“Happy as Lazzaro”) and Luigi Lo Cascio (“The Traitor”) as the couple at the film’s center.
The virtual press conference is scheduled to begin at 11am Cet. This post will be updated live as films are revealed.
Venice Film Festival Lineup
In Competition
“In Between Dying,” Hilal Baydarov
“Le Sorelle Macaluso,” Emma Dante (Italy)
"The World to Come,” Mona Fastvold (U.S.)
“Nuevo Orden,” Michel Franco
"Lovers,...
- 7/28/2020
- by Nick Vivarelli
- Variety Film + TV
Competition line-up includes films by Chloe Zhao, Susanna Nicchiarelli, Kornel Mandruczo and Andrei Konchalovsky.
The line-up of the 77th Venice Film Festival (September 2-12) has been announced.
Scroll down for the full line-up
The big talking points from this year’s selection include an improved gender split, with eight women selected for the competition section (compared to two last year), and a lack of major US projects. Venice will be one of the first major film festivals to take place as a physical event following the Covid-19 outbreak.
Among the big-name auteurs selected are Chloe Zhao (Nomadland), Michel Franco (Nuevo...
The line-up of the 77th Venice Film Festival (September 2-12) has been announced.
Scroll down for the full line-up
The big talking points from this year’s selection include an improved gender split, with eight women selected for the competition section (compared to two last year), and a lack of major US projects. Venice will be one of the first major film festivals to take place as a physical event following the Covid-19 outbreak.
Among the big-name auteurs selected are Chloe Zhao (Nomadland), Michel Franco (Nuevo...
- 7/28/2020
- by 1101184¦Orlando Parfitt¦38¦
- ScreenDaily
Mostly Martha
Sandra Nettelbeck's "Mostly Martha" is a mostly undercooked tale about food and love and how if you want to make either, things have to get a little messy. For the most part, the ingredients are there. But an unwillingness to explore beyond the surfaces of her characters prevents Nettelbeck's film from coming together.
While the German film does achieve touching moments, especially those involving a young girl finding a home in a busy kitchen, "Mostly Martha" is too weak and generic to attract business in North America beyond a couple of weeks in urban areas.
Martha (Martina Gedeck) is the perfectionist head chef in a gourmet restaurant in Hamburg. She has no life outside of her spotless kitchen. Then an auto accident kills her sister and leaves Martha to care for an 8-year-old niece, Lina (Maxine Foerste). (Unless the fault lies with the English subtitles, Martha's familial relationship to the young girl is needlessly unclear for much of the film.) While she is coping with the often grumpy child, the restaurant's owner (Sibylle Canonnica) hires a scruffy but charming Italian sous chef, Mario (Sergio Castellitto), without consulting her chef. (This would never happen in any gourmet kitchen, but never mind.)
Naturally, conflicts arise with each new person. The loss of her mother has made Lina temperamental and gloomy. Despite living with "the second-best chef in Hamburg," she won't eat. Meanwhile, Martha's Teutonic precision clashes repeatedly with Mario's Latin casualness. Predictably, one problem solves the other. Hurting for a baby-sitter, Martha brings Lina to work one evening. Mario then coaxes her to eat his pasta. Soon Martha is looking at Mario in a new light.
The main problem here is that Martha is a real head-scratcher. OK, so she is anal and obsessed with food. Aren't most three-star chefs? But why is Martha emotionally stunted? Why is she not interested in the nice architect (Ulrich Thomsen) who lives downstairs? Why does she go to a shrink and talk about nothing but food? What is it about her relationship with her sister or parents -- who are never once mentioned -- that makes her life so joyless? Why does she not even know where to find Lina's father (Diego Ribon)?
The back stories for every character are missing. People's behavior comes from script directions rather than inner lives. And how will they change over the course of the movie is all too obvious.
Nettelbeck has clearly borrowed from one of the best restaurant movies ever, "Big Night": Everyone is passionate over food. A chef berates customers for not appreciating her cooking. "Classic Italian" music dominates the soundtrack -- i.e., Dean Martin, Louis Prima, Paolo Conte and others. But the movie fails to capture the things that made "Big Night" so wonderful -- the interplay of food and life, the beautifully realized characters operating under stress, the quiet observations of idiosyncratic behavior.
Despite the sketchy writing, Gedeck handles her character's emotional shifts adroitly while Castellitto, dubbed almost imperceptibly into German, keeps the earthy Italian chef from tumbling into cliche. Technical credits are solid with Michael Bertl's lensing of wintry Hamburg giving the film a romantic feel not usually associated with that city.
MOSTLY MARTHA
Paramount Classics
A Pandora Film Produktion presentation of a Pandora/Kinowelt Filmproduktion/Prisma Fillm/T&C Film/Palomar production
Credits:
Screenwriter-director: Sandra Nettelbeck
Producers: Christoph Friedel, Karl Baumgartner
Director of photography: Michael Bertl
Production designer: Thomas Freudenthal
Music: Manfred Eicher
Costume designer: Bettina Helmi
Editor: Mona Brauer
Cast:
Martha Klein: Martina Gedeck
Lina: Maxine Foerste
Mario: Sergio Castellitto
Frida: Sibylle Canonnica
Sam: Ulrich Thomsen
Running time -- 107 minutes
MPAA rating: PG...
While the German film does achieve touching moments, especially those involving a young girl finding a home in a busy kitchen, "Mostly Martha" is too weak and generic to attract business in North America beyond a couple of weeks in urban areas.
Martha (Martina Gedeck) is the perfectionist head chef in a gourmet restaurant in Hamburg. She has no life outside of her spotless kitchen. Then an auto accident kills her sister and leaves Martha to care for an 8-year-old niece, Lina (Maxine Foerste). (Unless the fault lies with the English subtitles, Martha's familial relationship to the young girl is needlessly unclear for much of the film.) While she is coping with the often grumpy child, the restaurant's owner (Sibylle Canonnica) hires a scruffy but charming Italian sous chef, Mario (Sergio Castellitto), without consulting her chef. (This would never happen in any gourmet kitchen, but never mind.)
Naturally, conflicts arise with each new person. The loss of her mother has made Lina temperamental and gloomy. Despite living with "the second-best chef in Hamburg," she won't eat. Meanwhile, Martha's Teutonic precision clashes repeatedly with Mario's Latin casualness. Predictably, one problem solves the other. Hurting for a baby-sitter, Martha brings Lina to work one evening. Mario then coaxes her to eat his pasta. Soon Martha is looking at Mario in a new light.
The main problem here is that Martha is a real head-scratcher. OK, so she is anal and obsessed with food. Aren't most three-star chefs? But why is Martha emotionally stunted? Why is she not interested in the nice architect (Ulrich Thomsen) who lives downstairs? Why does she go to a shrink and talk about nothing but food? What is it about her relationship with her sister or parents -- who are never once mentioned -- that makes her life so joyless? Why does she not even know where to find Lina's father (Diego Ribon)?
The back stories for every character are missing. People's behavior comes from script directions rather than inner lives. And how will they change over the course of the movie is all too obvious.
Nettelbeck has clearly borrowed from one of the best restaurant movies ever, "Big Night": Everyone is passionate over food. A chef berates customers for not appreciating her cooking. "Classic Italian" music dominates the soundtrack -- i.e., Dean Martin, Louis Prima, Paolo Conte and others. But the movie fails to capture the things that made "Big Night" so wonderful -- the interplay of food and life, the beautifully realized characters operating under stress, the quiet observations of idiosyncratic behavior.
Despite the sketchy writing, Gedeck handles her character's emotional shifts adroitly while Castellitto, dubbed almost imperceptibly into German, keeps the earthy Italian chef from tumbling into cliche. Technical credits are solid with Michael Bertl's lensing of wintry Hamburg giving the film a romantic feel not usually associated with that city.
MOSTLY MARTHA
Paramount Classics
A Pandora Film Produktion presentation of a Pandora/Kinowelt Filmproduktion/Prisma Fillm/T&C Film/Palomar production
Credits:
Screenwriter-director: Sandra Nettelbeck
Producers: Christoph Friedel, Karl Baumgartner
Director of photography: Michael Bertl
Production designer: Thomas Freudenthal
Music: Manfred Eicher
Costume designer: Bettina Helmi
Editor: Mona Brauer
Cast:
Martha Klein: Martina Gedeck
Lina: Maxine Foerste
Mario: Sergio Castellitto
Frida: Sibylle Canonnica
Sam: Ulrich Thomsen
Running time -- 107 minutes
MPAA rating: PG...
- 8/13/2002
- The Hollywood Reporter - Movie News
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