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THE SMELL OF BLOOD

Director: Mario Martone.
By: Michele Placido, Fanny Ardant, Giovanna Giuliani.
Production: Mikado, Biancafilm.
Distribution: Mikado.
Year: 2003.
Length: 98 '.

As more stagnant in their career as a writer uncomfortable and war correspondent, Charles takes refuge in the farmhouse where he leads anything but incognito in a parallel relationship with Lu, and androgynous young lover who usually called "my boy" . In Rome, an apartment in order and sterilized by the hundreds of books to be carried from the walls, is Silvia, the charming wife of whom had no children and has accepted, if not shared, the interpretation given libertarian by her husband at their wedding. The pervasive feeling of loneliness and beauty of the gradual fade in slide monotonous days Silvia push comes to sex found in the rough attentions of a young man known for an illusionary way explosion of vitality. Sniffed the emotional involvement of his wife, Charles was attacked for the first time since the most hated and bourgeois sentiments, a fierce jealousy, almost pathological, yet has the clairvoyance to foresee the fatal end of an emotional disorder so carelessly indulged. Talent
extraction and training exquisitely theatrical Mario Martone down with some frequency even in the arena of film to compete with preference subject of very high concern (Death at a Funeral, 1992; Love harassing, 1995). Therefore understandable interest in the smell of blood, last novel, among other things unfinished, Goffredo Parise, author of the least affected and conciliatory in Italian literature. The text, conceived as an outlet for free personal and liberating, had many elements that could undermine the foundations of a successful film adaptation: the implosion of the intimate el'autoreferenzialità tell Paris, the literary dialogues, the roughness of the situations and Carlo investigation of the obsessional character of sexual behavior with the young wife lover. Martone approaches to written text with great respect, however, decided to preserve the frontal impact that had on players at that time. The only license that you grant the Neapolitan in the difficult work of implementation lies in the repechage of the story of Rome from the aquarium ultra-ideological the years of lead. In compliance with a custom built theater Martone directed on intimacy of the two main characters, Charles and Sylvia, his eyes widening then so not to speculate with their lovers. If Lu is in fact widely introduced to the public that recognizes it as an actor and independent, the young mistress Silvia and rude is not shown even once. The choice, cinematically very happy, therefore, we need merely to evoke the character to give it the consistency of the air, ubiquitous ghost who actually lives in the obsessions of Charles, who, without realizing it, pours rival in all the distance that separates him from the ideological and generational change in course. The excellent performance of the hallucinations of Charles, declined as a "reality in reality" that is, without any recourse to the vocabulary of the narrator or clichés of photography dissimilar (over-or under-exposed), filling at least a couple of slips where Martone is We believe in being committed to writing and staging. Silvia, for example, is often repetitive and expressions he uses to defend itself from attacks by the husband (Nothing exclusive) or to justify the burning attraction for a boy whose mother may be (He's the cult of force) that expire in redundancy, as we know, the enemy is the sum of the writer. Finally, the abuses Martone quote. If the reference to physical and psychological Desert Antonioni (Zabriskie Point, 1980) triggers a fertile suggestion, the references to The Lady Next Door (Truffaut, 1981), and there seemed to grasp but we make mistakes, and the recent bad Fatal Gaspard Noe appeared in the first case a courtesy to the host (Fanny Ardant) and the second an ominous but cleverly disguised attack of laziness. Set on a strictly singular and male perspective, The smell of blood and harsh tones describes lewd Freudian tragedy of a man overwhelmed by his rival's virility fit into the larger context of a moral parable without any side effects of indecent liberties that so sublimely sung by Renato Zero (Look for me in Love After love, Fonopoli, 1998).

Review by Alessandro Montanari

Itchy Toes Bad Circulation

From Heaven, when music meets the image


gived October 4 was officially unveiled at the Palace Barn Settimo Milanese the video for "From Heaven," the first single from the album "thin Limits", a brilliant debut recording the gothic rock band "Sleep of Thetis." The video was directed from our diverse employee and Alvise Barbaro has been a great public approval.
The presentation was accompanied by an acoustic concert the band in Milan.
For those wishing to watch the video, you can find it on YouTube or at www.sleepofthetis.com.

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RETURN


Director: Andrey Zvyagintsev.
Starring: Vladimir Garin, Ivan Dobronravov, Konstantin Lavronenko, Natlaya Vdovin, Galina Petrova.
Production: Ren Film.
Distribution: Lucky Red.
Year: 2003.
Length: 105 '.

grew up with her mother and grandmother, Andrei and Ivan did not see his father for 12 years. Him in the house is forbidden to speak and even his image is reduced to the memory of a rumpled old family photo of the two children kept as a secret treasure. But one day his father reappears out of nowhere, and without solving the mystery of such a long absence and resumed command of the family. To renew the relationship with the children decided to take a trip with him on a desert island with no apparent purpose and wild. On the return trip, however, only two.
Perfect balance between the simple story of family and exemplary story, The Return, the Golden Lion at the Venice Film Festival 2003, goes straight to the heart and gives the viewer a vertical range of readings, all equally plausible and meaningful. That the father is not only a father, For example, you can tell from the first appearance on stage, modeled on the famous composition by Zvyagintsev of the Dead Christ by Mantegna. Other details, however, seem to suggest an interpretation of the biblical or otherwise primeval movie. The breakdown of the story within 7 days of the week, marked by special titles, it draws the story of the creation of the universe in the book of Genesis and the absolute lack of geographic or temporal references suggests the nature of the island, whose only "contamination" is represented by a disused military tower, as the archetype of the place left by humans: the Garden of Eden. Will also contribute to strengthen the attitude polar vision of the children: Andrey embodies the Faithful, who believe that there is no need for anything but the image (icon) and the word (verb) the father, but Ivan is the skeptic, the one that is who must find reason in why submit to the authority of his father. It should be emphasized, finally, the Unbreakable inscrutability of the parent who gives orders like a God, that rules and puts the children to the test without providing any kind of explanation. But a father is good or bad that Andrey and Ivan suddenly find themselves in the house? It is not clear. Zvyagintsev supplies the character's ambiguity until the end of providing both occasionally vague clues that will touch the viewer then draw in a final filtered by several questions. Because you can not talk about his past? It 'been in prison? And digging up the treasure chest that contains the island thing? Given the dimensions might contain gold or money, perhaps the spoils of a robbery. E 'then a bandit, a negative hero? E ', however, plausible that intends to use that money for the family. E 'therefore a positive hero?
If the latter, as it seems, was the proper perspective, then Zvyagintsev would force us to go back and review the film in a new light, very different indeed from the cold and metallic colors of the sequences that prior to the trip to the island. His father is only a man who knows he has lost 12 years and having to teach older children already live now. He decides to take them with him during a trip disseminated as in the tales of mishaps, accidents and obstacles of all kinds. For this reason, then, when Andrey and Ivan are robbed, the father does not intervene merely to scrutinize the behavior of the children from behind a window. For this storm makes them under the rowing until exhaustion. That is sometimes abandon them, leaving them alone and without guidance. Its role is therefore the most thankless: subjecting children to such hard evidence exposes him to the resentment of the child and an inner struggle that has no hope to see the fruits of their labor. Consistent with Freud's theories in fact the transformation of the adult child can not move from the extreme sacrifice of his father. Only after the tragic inevitability of his death because Ivan will be able to call his father "Dad" and Andrey to find ways to carry as heavy body immensely to the shore and then to drive the car all the way back. The return to this very word has finally led to a long series of puzzles by Zvyagintsev embedded in the film, one of the most beautiful, moving and intelligent in recent years. Would be a lot to say, for example the use of depth of field, the inner triangle jump into the scene and continue to focus between foreground and background, but adding more would only serve to reveal too much of a movie in the casket of the unsaid holds the key to its charm and its mystery.

review of Alessandro Montanari

Strattera And Ginko Biloba

House keys


Director: Gianni Amelio.
Starring: Kim Rossi Stuart, Andrea Rossi, Charlotte Rampling, Pierfrancesco Favino.
Production: Enzo Porcelli.
Distribution: 01 Distribution.
Year: 2004.
Length: 105 '.

Gianni and Andrea do not know. Breakfast together in the dining car of a train that will take them to Berlin, where there is a special clinic in the treatment of childhood disabilities. Andrea knows who is that handsome, shy and awkward sitting in front of him. They told him 15 years before he fled away, without even wanting to see. And perhaps he also told the party's unfortunate that it has crippled the world rapendogli mother. But the question shaky Gianni "You know who I am?" Andrea replied with disarming candor of all it is capable of, "My father." In his heart, just differently abled than the so-called normality, there is not even the rancor and distrust of strangers warmly fuzzy confidence. And so, the trip to Berlin and then again in Norway, Gianni and Andrea will be born a again becoming what God or nature had decided that they were: a father and son.
Loosely based on the autobiographical novel by Giuseppe Pontiggia (Born Twice, Mondadori, 2000), The Keys to the house is a small poster of the film by Gianni Amelio, the only Italian director in a position to abandon the technique without losing the author's own imprint. Very matured since the start, the film Amelio has developed its own stylistic essentiality in rigorous and austere appearance that enhances the inherent vitality of a "tell" for humanity and spirituality that recalls the great nineteenth-century literature. Amelio's gaze is focused on the person. His film does not tell just "stories" rather than "human beings". Human beings in search of other human beings. Many have approached the house keys in The Stolen Children, to blaming Amelio constant repetition of the same themes and narrative solutions. They have, however, forgot to add to the list also films such as Blow to the heart and Lamerica where the dramatic tension was all concentrated in the unresolved relationship between fathers and sons or not. The simple truth is that Amelio, like all those directors who call the authors felt that the film as honest, the only possible, it is one in which strips themselves and their drama unresolved. And this is the root of living, private conflicting and often painful that the public felt in films that make you feel your heartbeat strong and vital that the critic should consider stages of an existential journey, variations on the theme. To those who wondered if dishonest do not think the audience laugh or cry using childhood, Truffaut answered no sure if these same sequences were first made you laugh or cry even those who staged. E 'for this reason perhaps that the handicap can meet Amelio using a child actor in the disabled without stumbling or slipping into stereotypes pietism. The grace of man becomes so sensitive feel of a director who decides to disappear behind the camera to allow for creativity the breath of the actors in a film that is made of the silence of Kim Rossi Stuart, Andrea Rossi of the wild spontaneity of the tragic mask and Charlotte Rampling. The keys of the house is their film: a film of men, women and children rather than actors, a film of glances rather than words, small gestures and large operations. There is a moment in The keys to the house where it all boils down to a sequence of rare emotional intensity. After taking a bath tub embraced by the hotel, have lunch with his son Gianni found. Andrea plays to take the father repeating "which is too dry." John laughs, cries and caresses can be stronger than that son who speaks to him from his father. In the frenzy of his hands is the impossible desire to return in a moment 15 years of missed strokes. The immediate feeling is that the whole movie is in this scene and that the whole script has been built to get in that room at that hotel, at the time. It probably is. The plot suggests that perhaps too linear for a couple of writers such as rollers and Petraglia that they are obviously knowing that I have held then put the script in the hands of a champion in just one shot focuses pages and pages of unspoken and, perhaps, unspeakable. Writers
passing his hand to the director. A director who leaves the field for the actors. Actors who does not require acting.
's funny how sometimes the film can also arise from the denial of himself.

review of Alessandro Montanari

Late Period Cervical Mucus

Anthology of readings ... BellamiRacconti

The Literary Circle Bel-Ami, as per regulation, has started the procedure for creating a collection of short stories called by this special monthly contest.
All text that you sent will be selected and, after checking the length (less than 1800 characters) and relevance with the evenings promoted, will be sorted by theme. The anthology, once completed, will be sent to all our cultural and information centers. Who knows what that thing is not born ...

Thanks to everyone who participated.
you soon, Chris Sabbatini

Literary Circle Bel-Ami www.bellami.it

What Does Mo C Mo C Mean?

Change of date for presentation in Milan


The presentation of the book by Milan Alvise Barbaro has been postponed to Monday, May 28 at 18.15 to take advantage of the space inside the new central library and Mondadori in Piazza Duomo. In addition to
Giannalberto Bendazzi, professor of film animation as well as prefacer work, will present at the screening the film critic Gianni Canova.
Meanwhile, success for the submission of Rome: the critic Enzo Magrelli introduced the book and its young author (As well as our employees) with flattering words that emphasized the value of the work (an interesting essay, but especially well written, so precise and essential "). Which were echoed by the master of thrills Dario Argento, equally gratifying against Barbaro ("I chose Alvin as an assistant for my last movie because talking to him I realized he had a deep knowledge of cinema, not just horror) .
So now we are waiting for May 28 at 18.15 in Piazza Duomo!

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Two dates not to be missed!

Finally, our Alvise Barbaro officially presents his essay on the horror film "Frankenstein . A monster of celluloid between horror and parody "!

So we expect many first in Rome and Milan for two meetings that promises to be interesting for fans of the genre:

ROME Wednesday April 18, 18.30, Library Mondadori, Piazza di Trevi fountain.

will be in the audience the thrill of the master Dario Argento made in Italy

MILAN Wednesday May 16, 18.30, Mondadori Multicenter, Via Marghera.

The debate will be animated by prof. Giannalberto Bendazzi , film critic, as well as prefacer work.

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Sbellicarsi

May 8 2007
Sbellicarsi ... readings.
From literature to comedy drama in a humorous repartee full of laughter and themed cocktails.

This event will feature tears in his eyes and laughs for everyone. You do not lack the imagination but the clock is ticking. Please indicate your e-mail and, as always, not to exceed 1800 characters.

winner Tale:
"morning work"
Cristina (@)

Literary Circle Bel-Ami www.bellami.it

Pain Behind Ears When Laughing

From Syracuse to Damascus

April 10, 2007
From Syracuse to Damascus.
A expedition in search of Middle Eastern influences on Sicilian culture through sounds, images, tastes, and words.

1800 characters to tell a story set in Sicily, from Sicily or otherwise, its scents and colors and draw inspiration.

winner Tale:
called "Memories"
Marina ( marinagua@yahoo.it )

Literary Circle Bel-Ami www.bellami.it

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The book has served

March 13, 2007
The book is served.
Literature to enjoy: talking about food not only for the mind but also for the eyes.

Unlike its predecessor, this event does not pose constraints of gender. We are not talking only of erotic literature, yellow / noir, children's literature, etc. .. You
maneuvering.
Sbizzarritevi ...

winner Tale:
"The nocchino grandfather"
Tommaso Chimenti

Literary Circle Bel-Ami www.bellami.it

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www. sex. how?

February 13, 2007
www. sex. how?
The world through the eyes of erotic photography, film, literature, all washed down with cocktail aphrodisiacs. The first

appointment of this new initiative will open with a text of erotic literature.
Submit your story.


winner Tale:
" Moments pagans"
Loredana Carloni

Literary Circle Bel-Ami www.bellami.it

Teas For Gastric Rumbles

CLOSER

Director: Mike Nichols.
Starring: Julia Roberts, Jude Law, Natalie Portman, Clive Owen.
Production: Cary Brokaw, John Calley, Robert Fox, Mike Nichols, Scott Rudin. Distribution: Columbia Tristar.
Year: 2004.
Length: 100 '.

Sfacciata, candid and provocative, the young Alice arrives in London from the United States where, to make ends meet, is a stripper in a club for men only. The eccentric foreign does not take long to get to know people in the City but the circumstances in which he meets Dan, a reporter assigned to the obituaries failed writer, or rather, they are absolutely "accidental": Alice carelessly crossing the road and is thrown to the ground by a car. The girl lost consciousness, Dan, and she helps the miraculously wakes up, bewitching the "gentle knight" with a dazzling smile. Thus begins a harrowing report that, after giving the journalist a starting point for a mediocre novel, suck in a complex emotional vortex two other characters: Anna, a successful photographer with a failed marriage behind him, and Larry, a dermatologist from the insatiable appetites sex. A
74 years and played in a film that does not hesitate to show the monstrous and indecent to even be talked about, Mike Nichols gives many young men posing with a salutary lesson maudit, proving once again that a nonconformity intended only as aesthetic attitude is nothing but a version of low-rise pants criticized bourgeois superficiality. Inspired by a senile regurgitation of irreverence, the director of The Graduate (1967) and Carnal Knowledge (1971) gathers around him a cast of high artistic value and of great commercial attraction to adapt to the demands of a successful big-screen play by Patrick Marber for the popularization of fine language that addresses the sexual problem has been translated and performed in 30 languages. The result is an interesting oxymoron film, a dark and brilliant film, chaste and pornographic, Canon's consolidated and descends, a snapshot desolate twilight of love and relationship of the couple at the dawn of the third millennium. In the background, but clearly distinguishable, the setting sun shining the pen in the Death of Freud Marber gives frequent incursions into the plot (Alice know Dan risking their lives, Dan writes obituaries. ...) In clear adherence to cliché that drama has always been linked and Eros Thanatos. That sex obey a creative instinct as opposed to the destructive death instinct theory is very well known here and is certainly not the added value of the film, to be identified but in the parallel operation director of "lining bodies" and "self-emptying of the word. " Language, caste and brutal images: the product, not at all obvious, is a shameless denudation of the soul, pushed further and developed the character already established interpretations offered by both Julia Roberts and Judd Law that by Clive Owen and Natalie Portman emerging. Interpersonal relations are therefore regulated by the gaming and non-frivolous said of the fascination that leads the individual to a primitive egoism that true love should be demolished instead. The sex instinct is the voltage that attracts and repels people, holds together the social system. The man remains at the bottom of an animal whose work is focused on satisfying the needs and Nichols, who in His long filmography also boasts a werewolf version of Jack Nicholson (Wolf - The beast is out, 1994),'ll remember sketching a description of an incipient post-romantic and it was squalid. Closer
If the bet wins to reach the artistic finesse through the ELP vulgarity is not so exclusive thanks to the dialogues. Weigh the contents, and weighs weighs the melancholic atmosphere above the elegance of a narrative warp as a continuous flow in which the invisible seams of time shifts tell cucendone three reports together the beginning and end. All in imitation of the unconscious mechanisms of the psyche that, according to Nichols, would tend to remember the love stories of the past "only the beginning and end, while eliminating the ". Exactly, we might say, what the weather, for revenge with human beings, reducing them to go through a miserable two dates carved on a marble slab. As if to say that the best, life and love, is doomed to oblivion.

review of Alessandro Montanari