Mondovino Le Film http://mondovino-lefilm.com/ Wed, 04 Aug 2021 09:19:55 +0000 en-US hourly 1 https://wordpress.org/?v=5.8 http://mondovino-lefilm.com/wp-content/uploads/2021/07/lefilm-150x150.png Mondovino Le Film http://mondovino-lefilm.com/ 32 32 Kuruthi trailer: Prithviraj promises biting thriller, watch http://mondovino-lefilm.com/kuruthi-trailer-prithviraj-promises-biting-thriller-watch/ http://mondovino-lefilm.com/kuruthi-trailer-prithviraj-promises-biting-thriller-watch/#respond Wed, 04 Aug 2021 08:31:36 +0000 http://mondovino-lefilm.com/kuruthi-trailer-prithviraj-promises-biting-thriller-watch/ The trailer for the upcoming Malayalam thriller Kuruthi was released on Wednesday. Featuring Prithviraj in the lead role, the film is directed by Manu Warrier who previously directed the Hindi film Coffee Bloom (2014). Kuruthi’s trailer promises a biting thriller with high octane action that includes high-voltage chase sequences and brutal muddy brawls, coupled with […]]]>

The trailer for the upcoming Malayalam thriller Kuruthi was released on Wednesday. Featuring Prithviraj in the lead role, the film is directed by Manu Warrier who previously directed the Hindi film Coffee Bloom (2014).

Kuruthi’s trailer promises a biting thriller with high octane action that includes high-voltage chase sequences and brutal muddy brawls, coupled with dramatic performances. Prithviraj plays a god-fearing man in the movie, but that doesn’t stop him from getting revenge and revenge on those who wronged him.

Not just the character of Prithviraj, we hear others in the trailer invoking the name of God. While some seek mercy, a few bleed their hands in the name of the Almighty. There also seems to be a philosophical angle to the whole story, as the film apparently questions what is right and wrong.

The whole movie seems to take place overnight. According to the synopsis, an injured cop and a prisoner knock on the door of a house, seeking refuge from a killer chasing them. The killer, however, is in no mood to give up the hunt until he makes his rival pay for his crime with his life.

Prithviraj’s vengeful campaign appears to meet resistance from Ibrahim, played by Roshan Mathew, a man of faith, who also fights his own inner demons. The fateful night will be a test of the killer’s hatred and Ibrahim’s faith.

Besides Prithviraj and Roshan Mathew, Kuruthi also stars Mamukkoya, Srindaa, Shine Tom Chacko and Murali Gopi. It will be presented in preview on Amazon Prime Video August 11.

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How Locarno’s Open Doors projects in Southeast Asia tackle taboos http://mondovino-lefilm.com/how-locarnos-open-doors-projects-in-southeast-asia-tackle-taboos/ http://mondovino-lefilm.com/how-locarnos-open-doors-projects-in-southeast-asia-tackle-taboos/#respond Wed, 04 Aug 2021 07:43:00 +0000 http://mondovino-lefilm.com/how-locarnos-open-doors-projects-in-southeast-asia-tackle-taboos/ The latest edition of the Locarno Film Festival’s Open House section, which highlights new projects and new voices from Asia, feels like a highlight in more ways than one. After a completely remote affair last time around, Open Doors takes a hybrid in-person and online approach this time around, welcoming more than half of the […]]]>

The latest edition of the Locarno Film Festival’s Open House section, which highlights new projects and new voices from Asia, feels like a highlight in more ways than one.

After a completely remote affair last time around, Open Doors takes a hybrid in-person and online approach this time around, welcoming more than half of the filmmakers and producers to the Swiss festival. The section is also entering the final year of its three-year focus on Southeast Asia and Mongolia in particular.

“This one is much more the result of the exploration of the region and the collaboration that we have built with talents over the past two and a half years,” explains Sophie Bourdon, Director of Open Doors. “On the co-production side, these are just first-time feature film directors with one exception, but many of them have screened short films at the festival.”

Bourdon admits the past two years have been tough for Open Doors. In 2019, Bourdon and his team traveled for three months in Southeast Asia and Mongolia, meeting filmmakers and producers and creating a talent scouting network. While this had helped scratch the surface of the region’s up-and-coming filmmakers, in an ideal world, Bumblebee would have returned each year to refresh his contacts and discover even more new voices.

“The biggest challenge this year was that we weren’t able to spot the films, the projects, the talents there,” explains Bourdon. “It was difficult and disappointing not being able to do it. Cinema is an adventure and researching projects remotely through Zoom meetings is not the same. “

Nevertheless, Bourdon is still very excited about the harvest of Open Doors 2021 projects and talents.

Development highlights include the first feature film by Apichatpong collaborator Weerasethakul, Sompot Chidgasornpongse, and the second feature film by emerging Vietnamese director Le Binh Giang. The projects draw an interesting border between arthouse and genre cinema, reflecting a general desire to appeal to a wider audience while maintaining an independent spirit, according to Bourdon.

“We have a diversity ranging from experimental cinema, like ‘The Water Garden’ in Mongolia, to more genre cinema like the Vietnamese entry ‘Who Created Human Beings’. I think there is a wave of new voices in the region, and I think they want to talk about their country as it is, they want to show something different and get away from the same kind of stories. that you’re used to seeing, ”says Bumblebee.

The projects have a clear focus on women’s issues and inclusiveness, one focusing on a young woman struggling with a particularly painful menstrual cycle, and another representing an illegal abortion clinic. Bourdon says almost all of this year’s projects deal with topics that “are still taboo in these countries.”

“There are a lot of stories about the importance of human relationships and inclusiveness in terms of family, gender and even religion,” she says. “These filmmakers are trying to open the eyes of the public and show that life can be different. For some of them, it is important to reach a wider audience at home because they contribute to the development of their contemporary society.

Open Doors co-production selection:

“9 temples to the sky”

Thailand, directed by Sompot Chidgasornpongse

After hearing an alarming prophecy that his mother does not have much time to live, Sakol offers as a solution a deserving day trip to nine temples, from dawn to dusk. Just two weeks before his birthday, the Sakol Authority not only takes the family’s grandmother on this pilgrimage, but asks the whole family to join, nine members in total.

“A useful ghost”

Thailand, directed by Ratchapoom Boonbunchachoke

March and Nat are a happily married couple in their mid-thirties with their seven-year-old son Dot. March runs the family vacuum cleaner manufacturing plant. One day Nat died of a respiratory illness caused by air pollution. Saddened by his wife’s death, March fears the same fate will befall his son, who is gradually developing similar symptoms. Concerned about her son’s health, Nat returns as a ghost haunting the vacuum cleaner in the house. While everyone is afraid of her as a possessed vacuum cleaner, only her husband sees the opportunity to reunite the family.

“Don’t cry butterflies”

Vietnam / Singapore, directed by Dieu Linh Duong

Housewife Tan accidentally finds out about her husband’s affair. Instead of confronting him about it, she decides to follow a crook’s cult. She ends up spending a lot of money on voodoo rituals, while also embarking on hilarious attempts to seduce her husband, firmly believing that a little boy will solve their marriage problems. Meanwhile, rebel Ha is fed up with her parents’ deteriorating marriage. While the two women are busy fleeing from reality, the House Spirit has transformed into a monster-like creature that ends up haunting them both.

“Our son”

Indonesia, directed by Luhki Herwanayogi

Faced with family and societal pressures to have children, two couples confide in each other and form close bonds. When a couple’s son contracts dengue and needs a blood transfusion, things get complicated as the four of them realize they have to save his life and his future, while their own homes are in ruins.

“Sat”

Philippines, directed by E Del Mundo

Sam and her boyfriend Adam visit an abandoned mountain village. There, Adam sees his boss Popoy who invites them to participate in a governor’s project. Arriving at a checkpoint, Sam sees a hundred men requisition a convoy of eight vehicles, leaving him to face dire choices and bear the consequences.

“The beer girl in Yangon”

Myanmar / Philippines / Indonesia, directed by Sein Lyan Tun

Lily, a 17-year-old girl, is going through a phase in which she suffers from a painful menstrual cycle accompanied by nightmares, possibly resulting from the psychological trauma of seeing her father being tortured in front of her. She works as a hostess in a shady bar where underage prostitution is a constant temptation. Lily’s relationship with her coworker and working mother begins to complicate as she navigates her life dangerously alone with her own intuition.

“The water garden”

Mongolia, directed by Ikhbayar Urchuud

After the tragic death of his young daughter, Galaa divorced his wife Undarmaa. Galaa escapes drinking and goes out with a prostitute, while Undarmaa tries to start a new life with her only son Itgel. As Undarmaa tries to keep Itgel away from her unstable father, Galaa takes Itgel to their summer home – the place where their daughter died – without Undarmaa’s approval. Itgel tries to kill himself at home. Now is the time for both parents to realize that the trauma is not resolved and can no longer be ignored.

“Who created human beings”

Vietnam / Singapore, directed by Binh Giang Le

Sinh, a policeman, hangs out with his girlfriend Linh when he receives a call at the crime scene. It’s a murder case: a headless body is found with the head of another person in the stomach. The head belongs to Hang, a prostitute, and Sinh identifies two suspects. Meanwhile, Linh is pregnant, but she cannot communicate with Sinh, who is constantly carried away by other events. She pressures Sinh to marry her, but according to unwritten law in Vietnam, the police are not allowed to marry Christians: Sinh should convert to Catholicism. Sinh struggles between resigning and breaking up with Linh.

Selection of the Producers’ Laboratory:

Ines Sothea – independent producer – Cambodia

Gugi Gumilang – Studio Rumah Kedua – Indonesia

Benji Lim – Kinovisuals – Malaysia

Bat-Amgalan Lkhagvajav – Media Crackers LLC – Mongolia

Myo Thar Khin – One But Rat Film – Myanmar

Lin Sun Oo – Tagu Films – Burma

Stelle Laguda – KT House Productions – Philippines

Pom Bunsermvicha – Vertical films – Thailand

Nguyen Thi Xuan Tran – Lagi Limited – Vietnam


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How Jungle Cruise Box Office Stacks Up To Other The Rock Franchises http://mondovino-lefilm.com/how-jungle-cruise-box-office-stacks-up-to-other-the-rock-franchises/ http://mondovino-lefilm.com/how-jungle-cruise-box-office-stacks-up-to-other-the-rock-franchises/#respond Tue, 03 Aug 2021 12:19:00 +0000 http://mondovino-lefilm.com/how-jungle-cruise-box-office-stacks-up-to-other-the-rock-franchises/ from disney Jungle cruise open to a surprisingly successful domestic box office weekend, grossing $ 34.2 million, but how does it hold up to The rock‘s other franchise transport? New movie stars Dwayne “The Rock” Johnson as skipper Frank Wolff, A quiet place‘s Emily Blunt as Dr Lily Houghton, and Jack Whitehall as Lily’s younger […]]]>

from disney Jungle cruise open to a surprisingly successful domestic box office weekend, grossing $ 34.2 million, but how does it hold up to The rock‘s other franchise transport? New movie stars Dwayne “The Rock” Johnson as skipper Frank Wolff, A quiet place‘s Emily Blunt as Dr Lily Houghton, and Jack Whitehall as Lily’s younger brother and hesitant assistant McGregor Houghton. Lily recruits Frank to guide them along the treacherous Amazon River and through the arduous jungle as they search for the mystical Tree of Life, believed to have healing powers that would greatly benefit modern medicine.

Jungle cruise is Disney’s new adaptation of one of its popular rides like Pirates of the Caribbean or Haunted house, with the new film taken from the merry-go-round of the same name. With Pirates of the Caribbean Slowing in popularity after the controversy over Captain Jack Sparrow’s Johnny Depp, Disney is in desperate need of a new historic adventure franchise to take the reins back. Jungle cruise is already proving to be a hit with theaters and streaming, so Disney may just have found its new Pirates of the Caribbean theme park movie replacement.

Related: Jungle Cruise: Why Disney Thinks Theme Park Rides Make Great Movies

The Rock’s film career spans over 20 years, growing from a well-known professional wrestler to one of Hollywood’s highest-paying actors. Johnson began with supporting roles in franchises and action films before moving on to lead roles in dramas and comedies, ending up running his own successful franchises, the most recent of which is Jungle cruise. Reflecting on the franchise successes of The Rock’s career, it’s worth taking a look at how Jungle cruise holds up to its earlier box office gains.

How Jungle Cruise’s box office compares to its Fast & Furious movies

Fast and Furious 10 What To Expect The Rock Vin Diesel

Although Fast Furious was a booming franchise since its first film in 2001, The Rock joining the cast helped attract more audiences through his contributions. In Fast Five, The Rock was introduced as DSS agent Luke Hobbs, initially tasked with tracking down and apprehending Dom Toretto’s crew. Since then, The Rock has portrayed Hobbs in the next four Fast Furious films, including his own spin-off Hobbs & Shaw, but did not return for 2021 F9.

Fast Five, The Rock’s debut entry, grossed $ 109.6 million in its opening weekend. Keep yourself informed Fast Five ‘momentum, Fast & Furious 6, earned $ 97.3 million at the opening box office. Although much of furious 7The success of is due to the fact that the film was Paul Walker’s last feature film after his tragic death before release, it ended up being one of the highest grossing films of all time, grossing $ 147.1 million. dollars during its opening weekend. The next film in the franchise, Fate and the furious, still had The Rock and Vin Diesel at the helm to generate $ 98.8 million during the opening weekend of the box office. While this is by no means a disappointment for The Rock spin-off, Hobbs & Shaw’s The box office opening brought in just $ 60 million.

Fast Furious is a lucrative two-decade franchise that makes it hard to compare with Jungle cruise, a family-friendly Disney franchise that stands on its own. From the worst performing film of The Rock’s contributions to Fast Furious has been Hobbs & Shaw with a $ 60 million opening weekend, Jungle cruise bringing just over half that number in the midst of a pandemic always bodes well. Yes Jungle cruisethe momentum of accelerating in the following years with the disappearance of the pandemic, it may not reach Fast Furious, but could still be competitive.

Related: Disney’s Jungle Cruise Movie Can Finally Give The Rock Its OWN Franchise

How Jungle Cruise’s box office compares to Jumanji

Jumanji rock

As The Rock’s first franchise almost entirely run by its own celebrity, Jumanji performed very well at the box office. The film series picks up on the 1995 film of the same name, this time modernizing it in a video game setting with more action and adventure. Jumanji: Welcome to the Jungle, earned $ 36 million in its opening weekend, which is comparable to Jungle cruiseis $ 34 million. The following, Jumanji: the next level, outclassed its two predecessors with an opening of $ 59.2 million. Considering Jungle cruise Also performed well in streaming, grossing an additional $ 30 million in its opening weekend, its performances so far have been parallel JumanjiTrack.

How Jungle Cruise’s box office compares to other The Rock franchises

trip 2 cast dwayne johnson michael caine

In the first film role of The Rock, he joined The Mummy, one of the most successful adventure franchises of all time, for its first sequel. Considering Jungle cruise is strongly inspired by The Mummy, it’s no surprise that The Rock starred in two of the latter’s films. The return of the mummy ended up grossing $ 68 million in its box office opening weekend, surpassing the original film. The Rock went on to take the lead role in The Scorpion King, a prequel to The Mummy about his eponymous character, who made just $ 36 million in its opening weekend.

Once again taking over from a franchise led by Brendan Fraser, The Rock has joined the Journey to the Center of the Earth films in the second installment. Another action-adventure series, The Rock helmed Trip 2: the mysterious island, which grossed $ 27.3 million from its opening weekend at the box office. Jungle cruise already outperforming the franchise film set in 2012, that means it will likely have a longer future than the Travel movie theater.

With Snake-eyes the redesign of GI Joe movie franchise, it’s time to take a look back at Dwayne Johnson’s success in the second installment, GI Joe: Retaliation. The film made $ 40 million in its opening weekend at the box office, far more than Snake-eyes to $ 13.3 million, although the latter was released during a pandemic.

Related: Jungle Cruise: Why The Reviews Are So Mixed

Why Jungle Cruise’s box office is good for rock

Jungle Cruise Poster with Dwayne Johnson and Emily Blunt

While it’s hard to compare The Rock’s franchise box office earnings for the films he joined after the series premiered versus a brand new Jungle cruise frankness, the contrasts seem to prove Jungle cruise is on the right track. Earning $ 32 million at the box office on an opening weekend almost always signals the success of a movie, especially a family-friendly Disney movie that simultaneously opens for streaming on Disney +. While many of his other films grossed around $ 100 million in their opening weekends, some of his more recent blockbuster franchises grossed roughly the same as Jungle cruise without a pandemic.

Bringing in over $ 30 million in box office receipts in theaters and an additional $ 30 million in streaming is great news for The Rock, which means his fun personality is enough to get families out of the crowd. their homes and theaters during a pandemic. Without the pandemic, Jungle cruise would likely have generated considerably higher revenue, so earning an opening of $ 32 million against a planned transport of $ 25 million proves The rockpower at the box office.

Next: Jungle Cruise: Why The Rock Is Perfect As A Skipper

Joel Kinnaman, John Cena, Margot Robbie, Peter Capaldi and Idris Elba in The Suicide Squad

James Gunn Celebrates Suicide Squad’s First Certified Fresh Note As His First


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Winston Duke’s best performance of his career http://mondovino-lefilm.com/winston-dukes-best-performance-of-his-career/ http://mondovino-lefilm.com/winston-dukes-best-performance-of-his-career/#respond Tue, 03 Aug 2021 12:00:00 +0000 http://mondovino-lefilm.com/winston-dukes-best-performance-of-his-career/ I saw for the first time Nine days assisting AFI party 2020. After watching it, I immediately saw it again less than 24 hours later. The release has kept getting pushed back, but the time has come as the film hits theaters this week. So I sat down and saw him for the third time, […]]]>

I saw for the first time Nine days assisting AFI party 2020. After watching it, I immediately saw it again less than 24 hours later. The release has kept getting pushed back, but the time has come as the film hits theaters this week. So I sat down and saw him for the third time, and every emotion I felt ten months ago came back and even more difficult.

When you think about it, parents remember your first steps and you remember your first teachers, your first kiss, your first date, and today we’re watching Edison Oda’s feature debut. So you may wonder why I start this journey through Nine days here.

We’ve often seen movies questioning the idea of ​​what life after death is, but Oda looks at what life before life is. He asks us the question.

Nine Days asks what it’s like to be alive

Throughout this poetic journey he takes us on, we first reflect on ourselves, but he also forces us to dig deeper and show that life is full of repeatable events. Most of us wake up, go to work, come home, have dinner, rinse, recycle, and start over. Is that what it is to be alive?

The first act is constructed with this style of found images of various people going through their lives as Amanda prepares for her concerto. The mystery surrounding what is happening is enriched by this unearthed score which is somewhat difficult to hear and connects you emotionally to this world.

The leader of the pact is Will (Winston Duke), this somewhat undead man tasked with finding those to whom they will give life too. Will brings a group of individuals together and when he does, he challenges them with questions and assigns them a task, which includes watching so many other lives on television.

As we begin to remove each person’s diapers during this process, Will examines them with ideas and goals to see how they work under certain circumstances. Each movement made, Will takes notes. Its job is to get into the individual’s mind and determine if they are worthy enough to take that next step.

As you go through this process, you start to think about what you would do in their shoes. What would life be like if you could watch people live? How would we react to watching these strangers go through life’s emotional roller coaster? Would we become attached to their travels? Become obsessed? What would you do?

Technically speaking, the emotional weight of the film begins on the harmonic tone of this violin, and the score transports you throughout the film. Antonio Pinto’s score brought me to my knees several times and reminded the audience how important a score is for a film. Oda makes the score her own character, and she thrives because of it.

Winston Duke is brilliant in Nine Days

Winston Duke not only gives the best performance of his career but one of the best performances of the year. Will gives potential life to others, and as he does so throughout the film, he embodies the idea of ​​’life’, but in that lifeless way where every movement feels like it is sur- excreted. Winston had the manners and characteristics that make Will work. From the posture to the facial expressions to the way the words fell from his tongue, I was captivated by each complexity of Will in a way that reminded me of his mind.

As we near the end of our movie, chills run through my back as we see Will breaking through the barrier that wasn’t characteristic of anything we’ve seen of him yet. We saw the life inside HIM spilling onto the screen as his words were powerful, and they soar through the air as you cling to each last breath. You are Will, Winston is Will, and we have witnessed the birth of a new life right now.

I leave you with this if you could relive a moment of your life before you died, what would it be?


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A tête-à-tête with Jennifer Hudson about her role as music legend Aretha Franklin in new movie ‘Respect’ http://mondovino-lefilm.com/a-tete-a-tete-with-jennifer-hudson-about-her-role-as-music-legend-aretha-franklin-in-new-movie-respect/ http://mondovino-lefilm.com/a-tete-a-tete-with-jennifer-hudson-about-her-role-as-music-legend-aretha-franklin-in-new-movie-respect/#respond Tue, 03 Aug 2021 10:36:05 +0000 http://mondovino-lefilm.com/a-tete-a-tete-with-jennifer-hudson-about-her-role-as-music-legend-aretha-franklin-in-new-movie-respect/ DETROIT – I loved Jennifer Hudson’s voice from the first note she sang in American Idol. Seeing her now on the big screen play another iconic role is exactly where she belongs. I couldn’t think of a more perfect person to play Aretha Franklin than Hudson. I had never met her before Sunday and I […]]]>

DETROIT – I loved Jennifer Hudson’s voice from the first note she sang in American Idol.

Seeing her now on the big screen play another iconic role is exactly where she belongs.

I couldn’t think of a more perfect person to play Aretha Franklin than Hudson. I had never met her before Sunday and I have even more respect for her artistry now more than ever.

She and I first met at the Charles H. Wright Museum of African-American History on Sunday afternoon before the film’s premiere.

Read: “Her mind was in the movie” – Aretha Franklin relatives respond to biopic after Royal Oak premiere

Read more: Aretha Franklin star biopic arrives in Metro Detroit for private screening of ‘Respect’

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Hudson made sure to stop and take photos with everyone in attendance before we were all invited for a chat with her and the film’s director, Liesl Tommy, hosted by the museum director.

From there, close friends and family of Aretha Franklin were invited to a private premiere which Hudson would also attend.

As a friend of Aretha, it was like a big family reunion. When Jennifer arrived, we chatted in front of the camera before seeing the movie.

Respect is a wild ride that captures pivotal moments in Aretha’s life and career.

Mary J. Blige, Forrest Whittaker and Marlon Wayans were excellent as you would expect. What struck me was that the star I saw on screen was completely different from the one I had just spoken to on the red carpet.

His speech, his manners, his walk had all changed to become Franklin.

It was remarkable. Let’s not even forget the singing. I was dazzled. A perfect mix of music and storytelling.

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On Monday, I got to sit down with Hudson and Tommy to really dig deep into the movie. We laughed as Hudson and I shared memories about Franklin and the messages she would email or text us.

If you love Franklin, or even want to know more about who she was as a person, respect is a must.

It shows Detroit in a good light and tells the story of the true queen of soul and her rise to fame.

Read even more: Aretha franklin

Copyright 2021 by WDIV ClickOnDetroit – All rights reserved.


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In “The Green Knight”, chivalry was still dead http://mondovino-lefilm.com/in-the-green-knight-chivalry-was-still-dead/ http://mondovino-lefilm.com/in-the-green-knight-chivalry-was-still-dead/#respond Tue, 03 Aug 2021 10:00:00 +0000 http://mondovino-lefilm.com/in-the-green-knight-chivalry-was-still-dead/ ‘Sir Gwain and the Green Knight’, the beloved 14th century poem, begins during Christmas time at King Arthur’s court, when a giant spinach-colored man walks into the banquet hall with a proposal. . He will accept any hit from one of Arthur’s knights if, in a year and a day, that knight comes to his […]]]>

‘Sir Gwain and the Green Knight’, the beloved 14th century poem, begins during Christmas time at King Arthur’s court, when a giant spinach-colored man walks into the banquet hall with a proposal. . He will accept any hit from one of Arthur’s knights if, in a year and a day, that knight comes to his house, the Green Chapel, and receives a hit in return. Arthur wants to take up the challenge, but his nephew Gauvain intercedes. “I am the weakest, I know, and the weakest in mind,” he says, “so my life would be the least loss.” (It’s politeness; Gauvain thirsts for adventure and glory.) Suddenly, Gauvain beheads the giant, who calmly raises his head and leaves: see you in a year.

The following winter, Gauvain, lavishly armed, sets out in search of the Green Chapel. Finally, half-dead of cold and hunger, he arrives in a castle – “It sparkled and shone through mighty oaks” – where a stately host and his beautiful wife shower him with comfort. The host, too, has a proposal. During the day, he will hunt while Gauvain is resting; in the evening, he will give Gauvain the booty from the hunt, and Gauvain will give him everything he has won at the castle. The next morning, the host’s wife slips into Gauvain’s apartments. “You are welcome in my body,” she whispers. He parries her advances but accepts her kiss, and plants his on the lord during the exchange of the night. This happens two more times; the last time, the lady also offers a magic belt, which would make her wearer invincible. Gauvain, unhappily thinking of his date, keeps the present. The next day, he goes to the chapel, where the green knight swings his ax, brushing Gauvain’s neck. It is for retaining the belt, the knight explodes, revealing himself as the host. “You like to be alive. I don’t blame you! Gauvain, torn with remorse, drapes the belt over his shoulder – “a sign of my sin” – and returns home as a wiser and truer knight.

Only the widest outlines of this impenetrable poem can be seen in “The Green Knight”, a haunting (and even more impenetrable) new film directed by David Lowery (“A Ghost Story”, “Ain’t Them Bodies Saints”) . An obvious departure is the undoing – I think this is the most accurate term – of the character of Gauvain. In the text we meet our fully formed hero, already the flower of chivalry. “As much pearls outweigh peas in value, so much Gwain compares to other good knights,” says one character. He is chaste, but possesses the manners of a consummate courteous lover. By contrast, the film’s Gawain, played with charming incorrigibility and loose limbs by Dev Patel, is untested, unknown, and a bit of a dud. He refuses to make his beloved, Essel, an honest woman and he displays none of the martial power or verbal eloquence of the source character. (“You’re not very good at questions,” the host teases.) When robbers intercept him on his journey to the Green Chapel, this Gwain wonders if he’s even a knight.

This is a question that would appear, in the poem, to be ridiculous. The original character feels governed by his social role, shaped in every stroke and gesture by the values ​​of the warrior elite. Gauvain de Lowery is looking for a more individual code, if he is looking for a code at all. “The honor,” he said to the host uncertainly, “is part of the life I want.

A Gauvain who hasn’t fully embraced chivalry – who seems poised at the start of an ambiguous bildungsroman – is an unrecognizable Gauvain, and the reverberations of his apostasy transform history. Much of the original drama stemmed from a situation in which a flawless hero had to navigate conflicting rules. Gauvain was required both to obey the lady’s wishes and to honor his host. He needed to keep his pact with the monster and, simultaneously, escape death. (Being dead is incompatible with acting in a chivalrous romance.) But the film’s Gauvain is already ambivalent about his calling. It’s unclear what tests he might be facing might prove. Essel’s introduction becomes one more step towards a disorderly interiority: if Gwain succumbs to the charms of his host’s wife, he would betray not an ideal but a specific woman, with whom he has a complex and troubled relationship. (Significantly, Gauvain did not make a formal vow to Essel, as he owed to male figures such as the knight and the host.)

That Gwain is, at best, a curious chivalrous – in a way, he himself is a “green” warrior – reflects the perspective of the film itself. This is another tectonic change. The unknown author of the poem, who appears to have been a devout Christian, offers a religious critique of the novel genre, but respectfully, in the terms of the genre. Lowery’s challenge is less courteous, presenting courtesy as manipulation, a cover for cruelty and deception. There is little gallantry in this Camelot. The men of the Round Table, rather than welcoming the Green Knight to their feast, as in the text, immediately draw their swords. Sean Harris’ Arthur, weakened by years of moral compromise, boasts of making the Saxons “bow their heads like babies”. (Later, the camera mournfully sweeps across the killing fields.) The worm groans with exquisite pleasures – “double portions” of meat and drink, soft music, splendid clothing – in a vibrant defense of the world the chivalry has built. But the film’s palette, at least on the inside, is drab and uninviting. There are goats, manure, widespread hostility to showers. Compared to the content of the poem, civilization seems both more fragile and less worthy to fight.

And yet, the film seems to enshrine certain human values. When Gauvain tells Essel that he is going to the Green Chapel in search of “greatness”, she replies: “Why is kindness not enough? Kindness seems to overlap with aspects of chivalry: keeping your word, providing for the vulnerable, helping the lost. Still, the film’s broader moral vision remains to be gained. If Gauvain ends his turn in a nihilistic game, is it heroic or foolish? Would it be smart or a sin to use magic to save your own life? We do not know what a happy resolution would look like for our hero – who could end up knight, king or dead -. The destabilization here goes beyond the suspense, beyond not knowing what Gauvain will do in the face of temptation. In this more deeply disorienting and modern take on romance, we don’t know, at some point, what the protagonist should do.

In the absence of an external and structuring ethic, “The Green Knight” plunges into psychological fantasia. Interestingly, this maintains the faith with the text, which is also a hybrid, layering the conventions of French and English courts on a deep vein of Celtic myth. A mysterious lyricism surfaces in the poem’s descriptions of natural, rather than artificial beauty: “But then autumn comes to harden the grain, / to warn it to ripen before winter.” / Its drought swirls the dust / and throws it high on the surface of the earth. It is this register that the film, with its catchy choral soundtrack and its cascades of mystical light, seems to want to exploit. The central act of the film unfolds a sequence of wonderful encounters of Lowery’s own invention. There are androgynous singing giants and a talking fox. Visual fragments swim together in a sweet prophetic confusion. I was not thinking of chivalrous romance but of another medieval form, the dreamlike vision, in which meaning is suspended and meaning comes in flashes.

This world can be ruled by laws, but they are not the laws of man. For proof, look no further than the color green, which, according to the host’s wife, played with icy goal by Alicia Vikander, is a shade of growth and decadence, of what persists “when passion dies. “. The film is concerned with the literal remains – corpses and skeletons – not as symbols of finality but as heralds of an essential porosity between the realms of the living and the dead. When Gwain is attacked and tied up by thieves, the camera slowly traverses the forest before landing on a bundle of bones covered with rags. There’s an upside-down sweep, and our hero is back, freeing himself from his bonds. One senses here a flirtation with horror, and the same somber sublimity resides in the poem itself, which, beneath its richness and manners, is extremely metallic. (We do not forget the stanza in which Gwain, awaiting his fate at the Chapel, hears a supernatural howl: the grinding of an ax.) Both versions emphasize the terrors one encounters outside – and , also, inside, when one thinks is safe – part of the thrill, of wholeness, of being alive.

If it is a profession, it is not the kind that the chivalrous code, with its games and its gentlemen’s agreement, is supposed to welcome. Lowery seems eager to dispel the frivolous counterparts that define romance as a form. During the film’s eerie, curvy midsection, Gawain stumbles upon a young woman, Winifred, who has lost her mind. (A Welsh saint by that name was beheaded in the 7th century.) She begs the knight to help her find him. He seems ready to accept, then, as if remembering her lines, wonders what she will give him in return. “Why would you ask me that?” She replies. “Why would you want already ask me that? It’s hard not to think, while watching the scene, of the etymological link between “question” and “quest”, and to conclude that Lowery is trying, even gallantly, to revive the second with the first.


Favorites of New Yorkers


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Bhuj The Pride of India Trailer: Ajay Devgn Takes Charge and Celebrates the Valor of Indian Soldiers http://mondovino-lefilm.com/bhuj-the-pride-of-india-trailer-ajay-devgn-takes-charge-and-celebrates-the-valor-of-indian-soldiers/ http://mondovino-lefilm.com/bhuj-the-pride-of-india-trailer-ajay-devgn-takes-charge-and-celebrates-the-valor-of-indian-soldiers/#respond Tue, 03 Aug 2021 08:30:12 +0000 http://mondovino-lefilm.com/bhuj-the-pride-of-india-trailer-ajay-devgn-takes-charge-and-celebrates-the-valor-of-indian-soldiers/ The creators of Bhuj: The Pride of India released the second trailer for the film on Tuesday. The Ajay Devgn star begins airing over Independence Day weekend on Disney + Hotstar and the trailer is designed to evoke the emotions of patriotism. The new trailer features war sequences peppered with explosions, fighting, hostility, airstrikes, and […]]]>

The creators of Bhuj: The Pride of India released the second trailer for the film on Tuesday. The Ajay Devgn star begins airing over Independence Day weekend on Disney + Hotstar and the trailer is designed to evoke the emotions of patriotism.

The new trailer features war sequences peppered with explosions, fighting, hostility, airstrikes, and destruction in general. However, it also shows Ajay Devgn, who plays the role of Squadron Leader Vijay Karnik, inspiring people as he articulates an intense dialogue, all inspiring a sense of patriotism and courage in the face of battle.

Bhuj: the pride of India releases on Disney Plus Hotstar on August 13. Besides Ajay, the film stars Sanjay Dutt, Sonakshi Sinha, Ammy Virk, Nora Fatehi and Sharad Kelkar. The film follows IAF squadron leader Vijay Karnik (Devgn) who secured India’s victory by rebuilding Bhuj air base with the help of 300 women from a local village in Madhapar.

The film’s first trailer gave us a glimpse into the war sequences that will be the mainstay of the film.

While Sanjay and Sonakshi play the local villagers who come together to help Indian soldiers, Sharad Kelkar and Ammy Virk are part of the army. The film is accompanied by dialogues that talk about martyrdom and the duties of a soldier.

Bhuj: The Pride of India is presented by T-Series and Ajay Devgn Films. It is produced by Bhushan Kumar, Kumar Mangat Pathak, Ginny Khanuja, Vajir Singh and Bunny Sanghavi. The film was written by Abhishek Dudhaiya, Raman Kumar, Ritesh Shah and Pooja Bhavoria.

The film was directed by Abhishek Dudhaiya.

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AACTA and Monster Pictures team up to research genre ideas http://mondovino-lefilm.com/aacta-and-monster-pictures-team-up-to-research-genre-ideas/ http://mondovino-lefilm.com/aacta-and-monster-pictures-team-up-to-research-genre-ideas/#respond Fri, 30 Jul 2021 01:55:55 +0000 http://mondovino-lefilm.com/aacta-and-monster-pictures-team-up-to-research-genre-ideas/ After last year’s iteration saw six optional projects, AACTA is set to team up with Monster Pictures to lead a horror and genre film development initiative. The AACTA 2020 Pitch: Isolation saw nearly 200 applications, and through a series of development cycles, the film crews had to demonstrate clear planning around finance, marketing and audience […]]]>

After last year’s iteration saw six optional projects, AACTA is set to team up with Monster Pictures to lead a horror and genre film development initiative.

The AACTA 2020 Pitch: Isolation saw nearly 200 applications, and through a series of development cycles, the film crews had to demonstrate clear planning around finance, marketing and audience development. Ultimately, eight projects were selected to participate in a live pitch final at AACTA ScreenFest.

Writer / Director Jordan Watton and Producer Julia Corcoran’s Burning won this event, receiving $ 10,000 and an exclusive distribution deal with Monster Pictures.

However, Monster Pictures director Grant Hardie was so impressed with the concepts that after the 2020 competition, with production company Chris Brown Pictures in Paradise, he picked five of the other first-round finalists’ projects. They now work with the teams to develop their projects and market them.

One of these projects is that of Aaron McCann Jonesy, which, as IF reported, was recently selected to participate in the Frontières International Co-production Market.

AACTA Award and Director of Industrial Development Ivan Vukusic said: “This is an incredible result for the first year and due to this resounding success, on behalf of the AACTA team, I am extremely happy to announce that we are continuing the competition with the 2021 initiative which will soon be launched “.

The theme for 2021 will be announced on August 30, but Hardie hints, “Let’s just say this year we’re looking for movies with a real bite.”

The complete list of projects selected by Monster Pictures and Pictures in Paradise:

BURNING: Jordan Watton, Julia Corcoran

Under-performing alien who works as a volunteer firefighter ignites a series of deadly fires throughout the bushfire season in his small town in rural Australia

FIERCE: Christian D’Alessi, Jesse O’Brian

A single mother and her two children, trapped and hunted by the mythical ghost of the blue mountain, must escape the looming bushfires and take back their lives in hand.

JONESY: Aaron McCann, Michael Facey

When a lazy bridegroom’s house cat begins to telepathically convince him to help the feline murder the neighbor’s pet cockatoo, things start to get out of hand, as poor planning and incompetence lead to a triple homicide. grizzly bear and a desperate attempt at cover-up.

MIRROR: Samantha Price, Sean Loch

Crossing the desert to visit her ailing mother, an assertive teenager and her father are tracked down by a malicious entity who only reveals himself to her next victim.

ZONE OF TERROR: Josh Sambono, Laura Sambono, Lucca Barone-Peters, Colin Wilson

A lone assassin must face traumatic childhood memories before being consumed by a monster inside of her who has awakened.

REMOTE CONTROL: Kelly Baigent, Luke Kneller

In 2021, Australian local authorities investigating several human deaths at a decommissioned nuclear test site, found several discarded cameras. The contents of these cameras and the identity of the dead are classified: Top Secret. Anonymous whistleblowers gathered these images and, when put together, they reveal: an enthusiastic group of young academics from the University of Sydney visiting the nuclear test site to analyze the impact of radiation on flora and fauna .


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Film review: “Pig” | Arts and culture http://mondovino-lefilm.com/film-review-pig-arts-and-culture/ http://mondovino-lefilm.com/film-review-pig-arts-and-culture/#respond Thu, 29 Jul 2021 23:42:02 +0000 http://mondovino-lefilm.com/film-review-pig-arts-and-culture/ (Courtesy of Néon) Nicolas Cage has one of the most confusing filmographies of any actor in my life. It won an Oscar for “Leaving Las Vegas” and left audiences scratching their heads with roles like “Mandy” and the most recent “Color Out of Space”. When a new Cage film arrives, there is excitement and reluctance […]]]>









Nicolas Cage has one of the most confusing filmographies of any actor in my life. It won an Oscar for “Leaving Las Vegas” and left audiences scratching their heads with roles like “Mandy” and the most recent “Color Out of Space”. When a new Cage film arrives, there is excitement and reluctance among audiences with whatever it will bring. We loved his crazy, larger-than-life performances, but we completely forgot the range he has as a performer. If you are looking for a dose of “Crazy Cage” then “Pig” will not be what you expect. Rob (Cage) is a truffle hunter living in the Oregon wilderness who is forced to return to his favorite Portland home in search of his pet truffle pig, which someone has taken in the middle of the night.

I’m sure you’d expect “John Wick” with a pig after hearing this premise. Instead, what we get here is a drama about a man facing grief. What makes the story work is how quiet the film treats itself. Just 90 minutes away, we’re immediately immersed in the action of Rob walking through his former chef’s playground. The world created by first-time director Michael Sarnoski is all about character.

Rob and Amir both roam the gray surroundings of Portland with relatively minimal dialogue. Watching them meet old friends and familiar faces, we learn everything we need to know about these characters. The only difference is that their faces and subtle reactions to those conversations tell us everything we need to know. It’s a fairly subtle cinema that is both engaging and moving. We never get “Crazy Cage”, but we do get a performance that shows us the reach. Rob’s life has only been filled with pain and suffering, and Cage expresses it brilliantly. The movie never makes it clear what those traumas are, but we can see why they haunted him. It’s a very nuanced role and succeeds thanks to a lead performance that allows us to draw our own conclusions.

The subtlety of “Pig” is a double-edged sword that certainly won’t appeal to everyone. The film is more about the reactions of the characters than the mechanics of the plot, so some will say, “it’s too slow”. This is a very valid concern, but one that could cause the audience to lose sight of what makes the story as effective as it is. The points he wants to make to the public run deep and unfold smoothly with rich rewards. These rewards aren’t blatant, but will definitely keep your mind focused on the many possibilities.

“Pig” is the kind of movie that sure won’t suit all fans of Cage’s later career. Compared to the wilderness of those early films, this one focuses more on interactions than just reactions. While it’s certainly not to everyone’s liking, there are some minor character moments that will stick with you long after the credits roll. If you want a movie to have an impact then I encourage you to see this one in theaters. The quiet, dark room can be the perfect place to soak up this history. Even if you end up seeing the movie on demand, it’s definitely something begging to be seen.

Score: 7.5 / 10

Watch the trailer here: https://www.youtube.com/watch?v=1i-_CRKdh4Y


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Waterworld series with Dan Trachtenberg in preparation at Universal http://mondovino-lefilm.com/waterworld-series-with-dan-trachtenberg-in-preparation-at-universal/ http://mondovino-lefilm.com/waterworld-series-with-dan-trachtenberg-in-preparation-at-universal/#respond Thu, 29 Jul 2021 23:25:00 +0000 http://mondovino-lefilm.com/waterworld-series-with-dan-trachtenberg-in-preparation-at-universal/ We have great news for fans of the post-apocalyptic sci-fi action starring Kevin Costner Water world (and yes, the movie has fans): the movie producer is working on a streaming series (get it?) set in a world where the pee fish-man has sailed into a world where dry land is a myth and money is […]]]>

We have great news for fans of the post-apocalyptic sci-fi action starring Kevin Costner Water world (and yes, the movie has fans): the movie producer is working on a streaming series (get it?) set in a world where the pee fish-man has sailed into a world where dry land is a myth and money is no object for movie studios.

Speaking with Collider, John Davis, producer of the original 1995 film, revealed he was developing a Water world series which will be a “sequel to this film” taking place “20 years later”. Davis did not say whether original stars Costner, Jeanne Tripplehorn or Tina Majorino are involved, but told the outlet he would focus on their characters in the film. Just, you know, “20 years later.”

Davis’ production partner John Fox added, “We’re not 100% sure how the show will approach. But definitely, we’re building right now.”

As such, there is no showrunner attached yet. But Dan Trachtenberg from 10 Cloverfield Way and The boys fame is on board to lead. Davis also said his team was preparing the show on Universal Television and landed a streaming service for the series, but declined to reveal which one.

Kind of like a setback Mad Max where the world is submerged under water instead of being a giant desert, Waterworld envisions a future where ice caps have melted and dry land has followed the path of dodo. Costner plays an unnamed vagabond known only as The Mariner, who has gills and drinks his own pee (yes, no, we’re not letting go of that). He reluctantly agrees to help a woman (Tripplehorn) and a young girl (Majorino) escape a group of evil “smokers”, led by the late Dennis Hopper, and seek dry land.

The aquatic world the struggling production shot its budget to $ 175 million, making it the most expensive movie in Hollywood history at the time. Although it ended up making a profit (mainly through home video), the advanced toxic word-of-mouth and mixed to negative reviews were Water world synonymous with Hollywood excess and pride; not to mention that it seriously damaged Costner’s reputation.

But that doesn’t deter Davis. In fact, after seeing it recently again, he “was surprised at how well it held up,” adding, “this film ages well over time.”

No word on a timeline for the project yet, but for now you can stock up on wet and wild fun at Waterworld: A Live Sea War Spectacular at various Universal Studios around the world.

(SYFY WIRE and Universal are the property of NBCUniversal, a subsidiary of Comcast Corporation.)


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