Podcasts about Andrzej Wajda

Talking 'bout my g-g-g-generation? Kind of! This week, the fellas discuss Andrzej Wajda's A Generation to complete the spiritual trilogy of films covered on the show. They discuss the inexperience of a young rebellion, the appearance of monster/actor Roman Polanski, working class criticism of the establishment, very disturbing subtle cinematography choices and much more. Next week: Be quiet out west... again. Questions? Comments? Suggestions? You can always shoot us an e-mail at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠forscreenandcountry@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠   Full List: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.pastemagazine.com/movies/war-movies/the-100-greatest-war-movies-of-all-time⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Facebook: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/forscreenandcountry⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.twitter.com/fsacpo⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠d⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Our logo was designed by the wonderful Mariah Lirette (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://instagram.com/its.mariah.xo⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) A Generation stars Tadeusz Łomnicki, Urszula Modrzyńska, Tadeusz Janczar, Janusz Paluszkiewicz, Ryszard Kotys and Roman Polanski; directed by Andrzej Wajda. Learn more about your ad choices. Visit megaphone.fm/adchoices

„Wielka fala w Kanagawie” to jeden z najsłynniejszych obrazów w historii ludzkości, powielany ponoć nawet częściej niż Mona Lisa. Jego autorem jest Katsushika Hokusai, jeden z dwóch największych artystów ukiyo-e, czyli „obrazów przepływającego świata”. W tym odcinku wyruszymy do Japonii śladami sztuki - zobacyzmy 36 widoków na Fuji, słynne widoki Tokio, przwemierzymy 53 stacje traktu Tokaido i przystaniemy w deszczu z ludźmi na moście. Poznamy człowieka, który wpłynął na sztukę europejską, a także wymyślił mangę. Wystąpią również: Hiroshige Utagawa, Picasso, Van Gogh, Monet, szogun, czarny samuraj, Andrzej Wajda, Wisława Szyborska i zbereźna ośmiornica. https://sorami.dev/tokaido-scrollytelling/ - interaktywna mapa 53 staci Tokaidohttps://www.arcgis.com/apps/mapviewer/index.html?webmap=2f1c30ec2ece479ba28c2d44785f2add - mapa widoków góry Fujihttps://ukiyo-emap.com - mapa wielu słynnych drzeworytów Hokusaia i Hioroshige⭕️ ZOSTAŃ NASZYM PATRONEM: https://patronite.pl/dobrapodroz⭕️ LUB POSTAW KAWUSIĘ: https://buycoffee.to/dobrapodroz  ⭕️ YouTube: Subskrybuj nasz kanał: https://www.youtube.com/dobrapodroz

durée : 00:59:04 - Toute une vie - par : Dominique Prusak - Né en 1926 à la frontière lituanienne, résistant contre l'occupant nazi à 16 ans, étudiant aux Beaux-Arts de Cracovie puis à l'école de cinéma de Lodz, Andrzej Wajda n'a eu de cesse de chercher et de montrer la vérité dans un système totalitaire soumis au diktat de la censure et au dogme communiste. - réalisation : Anna Szmuc

Foreign Film Month rolls on at The WatchTower Film Podcast with Ashes and Diamonds—the Polish post-war masterpiece that pairs existential dread with a killer pair of shades. We dig into director Andrzej Wajda's striking visuals, political tension, and the haunting performance at the heart of it all. Is it style over substance, or does it strike a perfect balance? Spoiler: it's both—and we've got thoughts.Grab a drink, dim the lights, and join us as we unpack this stylish, smoky slice of cinematic history.

Mija 50 lat od premiery "Ziemi obiecanej" Andrzeja Wajdy. To film, który wpisał się w kanon polskich produkcji. Opowieść oparta na powieści Władysława Reymonta nie jest jednak dokładnym odwzorowaniem lektury. O tym, co przy pracy nad filmem planował Andrzej Wajda, można przekonać się w Muzeum Kinematografii w Łodzi.

En la 1369-a E_elsendo el la 30.12.2024 ĉe www.pola-retradio.org: • Hodiaŭ ni proponas konatiĝi kun interesa kaj koninda loko en la sudokcidenta Pollando, Świeradów Zdrój. • En la kulturkoniko ni informas pri tri ekspozicioj: „Kisling. La brilo de Montparnaso” en Varsovio; pri ekspozicio dediĉita al Andrzej Wajda en Tokio kaj pri laŭvica ekspozicio dediĉita al samurajoj, ĉi-foje en Bydgoszcz. • La E-komunumaj informoj rilatas al tre sukcesa Lingva Festivalo en Moskvo komence de decembro; al informo el la listo uea-membroj pri ĉesigo de la ŝtataj ekzamenoj pri Esperanto en Hungario. • Muzike aŭdiĝas per eta fragmento la rusa E-kanto „Ni renkontiĝos”. „Ĉiam kun vi” el la jutuba kanalo Zenmuzik estas plia kanzono kreita de AI, kiun ni prezentas fragmente. Fine aŭdiĝas „Kanto por la Nova Jaro” de André el Kopenhago el suno.com. La programinformon akompanas interreta foto bildiganta la naturon ĉirkaŭ Świeradów Zdrój. • En unuopaj rubrikoj de nia paĝo eblas konsulti la paralele legeblajn kaj aŭdeblajn tekstojn el niaj elsendoj, kio estas tradicio de nia Redakcio ekde 2003. La elsendo estas aŭdebla en jutubo ĉe la adreso: https://www.youtube.com/results?q=pola+retradio&sp=CAI%253D I.a. pere de jutubo, konforme al individua bezono, eblas rapidigi aŭ malrapidigi la parolritmon de la sondokumentoj, transsalti al iu serĉata fragmento de la elsendo.

Tegoroczna, ósma już edycja Festiwalu Teologii Politycznej odbywa się w setną rocznicę przyznania Literackiej Nagrody Nobla niezwykłemu pisarzowi minionego stulecia –nWładysławowi Reymontowi. Każdy dzień Festiwalu rozpocznie się o godzinie 18:00 w Domu Literatury na Krakowskim Przedmieściu 87/89. Władysław Reymont miał nieprzeciętną zdolność do malowania szerokich społecznych krajobrazów i zniuansowanych wizerunków bohaterów, organicznie wrośniętych w swój społeczno-kulturowy kontekst i realia epoki. Podczas pierwszego spotkania Festiwalu postawimy pytanie o to, jak rozwijał się pisarski warsztat Reymonta, jak fascynacja spirytyzmem przebijała się w twórczości młodego pisarza na przykładzie takich powieści jak „Wampir" czy „Marzyciel". Prześledzimy historię powstania pierwszych opowiadań i utworów Reymonta, które początkowo nie spotkały się z większym zainteresowaniem. Niezniechęcony poczuciem odrzucenia i skrajnej biedy, w której przyszło mu żyć, doskonalił swój warsztat pisarski wraz z kolejnymi podróżami wokół wsi i miast, które każdorazowo poszerzały jego wyobraźnię i poczynały rozbudzać zmysł polityczny. Wreszcie, przyjrzymy się okolicznościom, które doprowadziły do stopniowego odchodzenia pisarza od realizmu, którego szczyt osiągnął w Ziemi Obiecanej czy Chłopach. Po dyskusji wyświetlony będzie film „Ziemia obiecana" (reż. Andrzej Wajda). Fragmenty pism czyta: Andrzej Ferenc W spotkaniu udział wezmą:

Wykład Bożeny Pysiewicz, Muzeum Narodowe w Warszawie, 17 listopada 2020 [1h08min] https://wszechnica.org.pl/wyklad/malarstwo-polskie-xix-wieku-w-filmowych-kadrach-andrzeja-wajdy/ Jeden z najwybitniejszych polskich reżyserów w swojej twórczości często sięgał do dorobku innej z muz. Bożena Pysiewicz wskazuje w nagraniu wykładu cytaty malarskie pochodzące z dorobku polskich artystów z XIX wieku, które można odnaleźć w filmach Andrzeja Wajdy. Wykład towarzyszył wystawie „Polska. Siła obrazu” w Muzeum Narodowym Warszawie, na której prezentowana jest większość z omawianych dzieł. Cytaty malarskie, jakie Wajda umieścił w swoich filmach, mają różnorodny charakter. Część z nich to sceny wprost wzorowane na wybranych kompozycjach, bądź też odwołujące się do ich nastroju. Inne przybierają formę obrazów, które stanowią element scenografii. – Andrzej Wajda mówił, że jego marzeniem jest zrobić film bez dźwięku, z obrazów. A jednocześnie wspominał, że jeżeli ma problem w realizacji dzieła filmowego, to nie szuka rozwiązania w doświadczeniach reżyserskich, ale we wcześniejszych związanych ze studiami na krakowskiej Akademii Sztuki Pięknych [w latach 1946-49] – opowiada historyczka sztuki. Cytaty malarskie w filmach Andrzeja Wajdy W filmach reżysera można znaleźć odniesienia do prac Piotra Michałowskiego, Jana Matejki, Leona Wyczółkowskiego, Maksymiliana i Aleksandra Gierymskiego, Jacka Malczewskiego, Stanisława Wyspiańskiego, Konrada Krzyżanowskiego, Józefa Chełmońskiego czy Wojciech Kossaka. Kadry, które prezentuje prelegentka, pochodzą ze strony Filmoteki Narodowej – Instytutu Audiowizualnego: fototeka.fn.org.pl Zdjęcia większości pokazywanych przez historyczkę sztuki obrazów można znaleźć na stronie: cyfrowe.mnw.art.pl Warto również wybrać się na wirtualne zwiedzanie wystawy „Polska. Siła obrazu”: polskasilaobrazu.mnw.art.pl Zapraszamy do wysłuchania całego wykładu Bożeny Pysiewicz, gdzie wskazuje cytaty malarskie w filmach Andrzeja Wajdy. Bożena Pysiewicz - kustosz, Muzeum Narodowe w Warszawie, Muzealne Centrum Edukacji Szkolnej Znajdź nas: https://www.facebook.com/WszechnicaFWW1/ https://anchor.fm/wszechnicaorgpl---historia https://anchor.fm/wszechnica-fww-nauka https://wszechnica.org.pl/ #muzeum #muzeumnarodowe #malarstwo #kultura #sztuka #film #andrzejwajda #wajda #scenografia

Adicionamos mais um áudio na galeria do "Dicas Triplas do PFC" e desta vez Fred e Alexandre recebem o crítico e jornalista Rafael Amaral, do blog "Palavras de Cinema", para conversar sobre três ótimos filmes de nacionalidades diversas. Do francês René Clément pegamos "O Sol Por Testemunha" (Plein Soleil, 1960), um dos filmes responsáveis por alavancar a carreira internacional de Alain Delon; na Itália seguimos com a dupla direção de Luigi Bazzoni e Franco Rossellini no longa "A Mulher do Lago" (La Donna del Lago, 1965), um dos precursores do subgênero giallo; e por fim concluímos na Polônia a nossa jornada ao lado de Andrzej Wajda, quando dirigiu o excelente "Sem Anestesia" (Bez znieczulenia, 1978), drama político disfarçado de uma história sobre um complicado divórcio entre um jornalista e sua esposa. Capítulos 00:00:00 Introdução 00:06:15 O Sol Por Testemunha 00:40:35 A Mulher do Lago 01:07:15 Sem Anestesia 01:30:20 Spoilers de "O Sol Por Testemunha" 01:35:50 Spoilers de "A Mulher do Lago" 01:43:00 Spoilers de "Sem Anestesia" ---------------------- Acesse nosso site: http://www.filmesclassicos.com.br/ Acesse nossa página no Facebook : https://www.facebook.com/podcastfilmesclassicos/

- Był pierwszy na planie. Może kilka osób z obsługi technicznej pojawiało się przed nim, ale z ekipy, która rzeczywiście wchodziła na plan, żeby przygotować scenę, to on był od samego początku. Miał w sobie niezwykłą energię chłopca - mówił w Dwójce Maciej Cuske, współpracownik Andrzeja Wajdy.

A 7 legjobb film a 2000-es évekből, amiről teljesen elfeledkezünk Joy     2024-07-20 19:34:00     Film Harry Potter Kevesebb hype-ot kaptak, mint mondjuk a Harry Potter vagy a Gyűrűk Ura, de mutatunk pár filmet, amit érdemes végigpörgetned nyáron. Pláne, ha egy kis nosztalgiára vágysz! Új horrorsorozaton dolgoznak a Stranger Things alkotói Hamu és Gyémánt     2024-07-21 04:38:01     Film Netflix Stranger Things A Netflixre 2016-ban robbant be a Stranger Things, ami pillanatok alatt a nézők egyik nagy kedvence lett. A sorozat rajongóinak most egy jó és egy rossz hírrel kell szolgáljunk. A rossz hír az, hogy a nem mindennapi alkotás ötödik, egyben utolsó évada jövőre bemutatásra kerül, így örökre el kell majd búcsúznunk a hawkinsi tinédzserektől. A jó hír v Alessandro Baricco Budapesten: Az élet egyik célja, hogy elengedjük a félelmeinket Könyves Magazin     2024-07-20 18:56:55     Zene Olaszország Fesztiválok Mesterséges intelligencia Zeneakadémia Szórakoztató egy órában volt része azoknak, akik ott voltak az ünnepelt olasz író, Alessandro Baricco első budapesti látogatásán, a Zeneakadémián tartott beszélgetésen. Sok minden szóba került a zenétől a mesterséges intelligencián és Nemecsek Ernőn át odáig, hogy régebben jobb volt-e gyereknek lenni, mint ma. Fotók: Felvégi Andrea / Fesztivál Akad Új a Netflixen: Erre az új romantikus vígjátékra könnyen rákattanhat a nagyközönség Mafab     2024-07-20 19:16:02     Film Párkapcsolat Netflix Ciprus Kellemes kis romantikus vígjáték érkezett a legnagyobb streaming szolgáltató kínálatába. Egy kis zene, egy kis Ciprus, egy kis szerelem. Nagyjából így lehetne összefoglalni a Kapj el, ha zuhanok című filmet, amelyet már most nézhetsz a Netflixen. Több mint ötszáz gyereket nemzett a donor 24.hu     2024-07-20 19:06:14     Film Hollandia Netflix Sperma A függőség sokféleképpen megmutatkozhat, egy rendkívül bizarr formájáról most a Netflix csinált dokumentumsorozatot: egy holland férfi abból űzött sportot, hogy spermadonorként több száz gyereket nemzett világszerte. Július 21-én történt kultura.hu     2024-07-21 00:02:00     Film USA Brad Pitt Michael Caine Juliette Binoche Juliette Binoche szerint Tarr Béla a valaha élt egyik legnagyobb filmrendező, Brad Pitt a Sátántangó után vált rajongójává. Az amerikai rendező Gus Van Sant ezt a filmet kockáról kockára újraforgatná színesben. Tarr Béla tavaly megkapta az Európai Filmdíj tiszteletbeli díját Manoel de Oliveira, Michel Piccoli, Sir Michael Caine, Andrzej Wajda és C Tarr Béla elmondta, miért hagyta el az országot és hogyan él most Librarius     2024-07-21 07:59:09     Film Humor Tarr Béla filmjeinek másik meglepő eleme a halálosan komor, kihalt fekete humor. Hangosan nevettem, amikor...   Hová tűnt a filmekből az izzadtság? NLC     2024-07-20 18:22:22     Film Chris Hemsworth A Furiosa sivatagban játszódik, szinte érezzük a nap erejét. A filmben Anya Taylor-Joy és Chris Hemsworth koszos és poros, de nem izzadt. A Top Gunban a nyolcvanas években minden karakterről dőlt a víz, a folytatás izzadást csak nyomokban tartalmaz. Hová tűnt az izzadás a filmekből és kik voltak régen a legizzadósabbak? Clint Eastwood gyászol Igényesférfi.hu     2024-07-21 09:04:19     Film Clint Eastwood A 94 éves, Oscar-díjas rendező és producer péntek hajnalban jelentette be a szomorú hírt egy hírlevélben. Ismét háromnapos ingyenes dzsesszfesztivált rendeznek Székesfehérváron HírTV     2024-07-21 09:24:07     Színpad Koncert Fejér Székesfehérvár Ismét megrendezik augusztus 8-10. között az Alba Regia Feszt jazzfesztivált, amely Székesfehérvár belvárosában két színpadon, ingyenes koncertekkel várja a jazz, pop, funky és világzene kedvelőit. Balázs Klári Korda Györgyről: "Nagyon hamar rájöttem, hogy a híre sokkal rosszabb, mint amilyen valójában" Story     2024-07-21 06:00:09     Bulvár Párkapcsolat Korda György Balázs Klári Kevesen tudják, hogy szerelmük hajnalán Klárika férjezett volt, Gyuri bácsi pedig nős, noha már régóta nem élt együtt a nejével. Ellenben másvalaki várta ­otthon… A további adásainkat keresd a podcast.hirstart.hu oldalunkon.

A 7 legjobb film a 2000-es évekből, amiről teljesen elfeledkezünk Joy     2024-07-20 19:34:00     Film Harry Potter Kevesebb hype-ot kaptak, mint mondjuk a Harry Potter vagy a Gyűrűk Ura, de mutatunk pár filmet, amit érdemes végigpörgetned nyáron. Pláne, ha egy kis nosztalgiára vágysz! Új horrorsorozaton dolgoznak a Stranger Things alkotói Hamu és Gyémánt     2024-07-21 04:38:01     Film Netflix Stranger Things A Netflixre 2016-ban robbant be a Stranger Things, ami pillanatok alatt a nézők egyik nagy kedvence lett. A sorozat rajongóinak most egy jó és egy rossz hírrel kell szolgáljunk. A rossz hír az, hogy a nem mindennapi alkotás ötödik, egyben utolsó évada jövőre bemutatásra kerül, így örökre el kell majd búcsúznunk a hawkinsi tinédzserektől. A jó hír v Alessandro Baricco Budapesten: Az élet egyik célja, hogy elengedjük a félelmeinket Könyves Magazin     2024-07-20 18:56:55     Zene Olaszország Fesztiválok Mesterséges intelligencia Zeneakadémia Szórakoztató egy órában volt része azoknak, akik ott voltak az ünnepelt olasz író, Alessandro Baricco első budapesti látogatásán, a Zeneakadémián tartott beszélgetésen. Sok minden szóba került a zenétől a mesterséges intelligencián és Nemecsek Ernőn át odáig, hogy régebben jobb volt-e gyereknek lenni, mint ma. Fotók: Felvégi Andrea / Fesztivál Akad Új a Netflixen: Erre az új romantikus vígjátékra könnyen rákattanhat a nagyközönség Mafab     2024-07-20 19:16:02     Film Párkapcsolat Netflix Ciprus Kellemes kis romantikus vígjáték érkezett a legnagyobb streaming szolgáltató kínálatába. Egy kis zene, egy kis Ciprus, egy kis szerelem. Nagyjából így lehetne összefoglalni a Kapj el, ha zuhanok című filmet, amelyet már most nézhetsz a Netflixen. Több mint ötszáz gyereket nemzett a donor 24.hu     2024-07-20 19:06:14     Film Hollandia Netflix Sperma A függőség sokféleképpen megmutatkozhat, egy rendkívül bizarr formájáról most a Netflix csinált dokumentumsorozatot: egy holland férfi abból űzött sportot, hogy spermadonorként több száz gyereket nemzett világszerte. Július 21-én történt kultura.hu     2024-07-21 00:02:00     Film USA Brad Pitt Michael Caine Juliette Binoche Juliette Binoche szerint Tarr Béla a valaha élt egyik legnagyobb filmrendező, Brad Pitt a Sátántangó után vált rajongójává. Az amerikai rendező Gus Van Sant ezt a filmet kockáról kockára újraforgatná színesben. Tarr Béla tavaly megkapta az Európai Filmdíj tiszteletbeli díját Manoel de Oliveira, Michel Piccoli, Sir Michael Caine, Andrzej Wajda és C Tarr Béla elmondta, miért hagyta el az országot és hogyan él most Librarius     2024-07-21 07:59:09     Film Humor Tarr Béla filmjeinek másik meglepő eleme a halálosan komor, kihalt fekete humor. Hangosan nevettem, amikor...   Hová tűnt a filmekből az izzadtság? NLC     2024-07-20 18:22:22     Film Chris Hemsworth A Furiosa sivatagban játszódik, szinte érezzük a nap erejét. A filmben Anya Taylor-Joy és Chris Hemsworth koszos és poros, de nem izzadt. A Top Gunban a nyolcvanas években minden karakterről dőlt a víz, a folytatás izzadást csak nyomokban tartalmaz. Hová tűnt az izzadás a filmekből és kik voltak régen a legizzadósabbak? Clint Eastwood gyászol Igényesférfi.hu     2024-07-21 09:04:19     Film Clint Eastwood A 94 éves, Oscar-díjas rendező és producer péntek hajnalban jelentette be a szomorú hírt egy hírlevélben. Ismét háromnapos ingyenes dzsesszfesztivált rendeznek Székesfehérváron HírTV     2024-07-21 09:24:07     Színpad Koncert Fejér Székesfehérvár Ismét megrendezik augusztus 8-10. között az Alba Regia Feszt jazzfesztivált, amely Székesfehérvár belvárosában két színpadon, ingyenes koncertekkel várja a jazz, pop, funky és világzene kedvelőit. Balázs Klári Korda Györgyről: "Nagyon hamar rájöttem, hogy a híre sokkal rosszabb, mint amilyen valójában" Story     2024-07-21 06:00:09     Bulvár Párkapcsolat Korda György Balázs Klári Kevesen tudják, hogy szerelmük hajnalán Klárika férjezett volt, Gyuri bácsi pedig nős, noha már régóta nem élt együtt a nejével. Ellenben másvalaki várta ­otthon… A további adásainkat keresd a podcast.hirstart.hu oldalunkon.

We talked about Kanal so why not talk about another Wajda War™ film - Ashes and Diamonds. While this one focuses less on war itself and more of the implications of post-war and one's own morality, this is our podcast so don't tell us what to do, MOM!!! Ahem. Anyhoo, the fellas chat it up about this film and discuss the scene with very realistic (if not real?) drunk acting, the stark imagery particularly with religious symbols, the massive changes between this and the propagandistic source material, the Polish James Dean and much more. Next week: kill! kill! kill! Questions? Comments? Suggestions? You can always shoot us an e-mail at forscreenandcountry@gmail.com   Full List: https://www.pastemagazine.com/movies/war-movies/the-100-greatest-war-movies-of-all-time Facebook: https://www.facebook.com/forscreenandcountry Twitter: https://www.twitter.com/fsacpod Our logo was designed by the wonderful Mariah Lirette (https://instagram.com/its.mariah.xo) Ashes and Diamonds stars Zbigniew Cybulski, Ewa Krzyżewska, Wacław Zastrzeżyński, Adam Pawlikowski, Bogumił Kobiela, Stanisław Milski and Ignacy Machowski; directed by Andrzej Wajda. Learn more about your ad choices. Visit megaphone.fm/adchoices

For episode 094 of Actorcast we are joined by Omar Sangare. Omar is the Founder and Artistic Director of the United Solo Theatre Festival, the largest solo theatre festival in the world! I had the opportunity to work with the "King of Solo Theatre" himself and learned a lot about the processes involved with running a successful theatre organization in New York City. In this episode, we talk about how Omar began his acting career in Poland. We reflect on how the United Solo Theatre Festival has grown throughout the years. We also talk about why solo performance is such an important art form. To learn more about Omar and United Solo, please visit their website at https://unitedsolo.org/ and follow them on social media @unitedsolo. Omar Sangare graduated from the National Academy of Dramatic Art in Warsaw, Poland, where he studied with the Oscar-winning director, Andrzej Wajda. He was awarded a scholarship to The British American Drama Academy in Oxford, England. While there, he worked with Derek Jacobi, Alan Rickman, Michael Kahn, and Jeremy Irons. Omar holds many film, television, and radio credits. For his one-man drama “True Theater Critic,” he was voted The Best in Acting by The New York International Fringe Festival. The New York press acclaimed his lead part in the Arena Players Repertory Theater production of “Othello.” The New York Times wrote—“Omar Sangare was born to play Othello!” In 2011, he was selected by the U.S. Department of State for a video project that appeared as part of President Obama's trip to Poland. In 2012, he was named “Person of the Year” by nytheatre.com for “a significant contribution to the NYC theater landscape.” Omar is a founder and artistic director of UNITED SOLO, the world's largest solo theatre festival, a resident company at Theatre Row on 42nd Street in New York City. Currently, he serves as Chair of the Theatre Department at Williams College. Follow my work at ⁠https://patrick-mcandrew.com⁠ and @patrick.mcandrew

How do artists engage living bodies as creative material? How do they engage our ideas and assumptions of what we consider a body to be and what a body can do? How do they challenge the principles of what life is and the relations we take for granted?    For this podcast, we invited philosopher, researcher and labour organizer Mijke van der Drift to engage with Agnieszka Anna Wołodźko, lecturer and researcher teaching contemporary philosophy and art-science at AKI Academy of Art and Design ArtEZ. Thinking through the lens of contamination, Agnieszka's recently published book Affect as Contamination: Embodiment in Bioart and Biotechnology uses bioart projects as provocative case studies to rethink affect and bodily practices. Departing from her book, they reflect upon the desire for transformation and the need for its control in our daily infrastructures, ranging from biotechnology and pharmaceutical industries to food production and healthcare.    What ethical frameworks are needed to organize and guide our actions when confronted with hard questions and uncomfortable situations that come up when engaging living matter as a creative material? How do we recognize what needs to change and for whom? Can ethics and art prompt us to become more joyful and accountable to transformative processes of justice?   We invite you to listen to this conversation and reflect upon the risks involved when artists experiment with bodies and living matter, and to think through which ‘anchors' can orient us through the transformation that life inevitably begets.   Show notes   -       Marion Laval-Jeantet and Benoît Mangin, May the Horse live in me! https://dublin.sciencegallery.com/blood-1/may-the-horse-live-in-me-#:~:text=The%20performance%20May%20the%20Horse,an%20injection%20of%20horse%27s%20blood.   -       The Center For Genomic Gastronomy, Smog Tasting: Smog Synthesizer https://genomicgastronomy.com/work/2015-2/smog-synthesizer/   -       Adriana Knouf, Xenological Entanglements. 001a: Trying Plastic Variations https://tranxxenolab.net/projects/eromatase/ -       Be-wildering by Jennifer Willet & Kira O'Reilly, 2017, performance https://waag.org/en/event/performance-be-wildering-jennifer-willet-kira-oreilly/ -           -       Book Deleuze & Guattari, A Thousand Plateaus: Capitalism and Shizophrenia 1980   -       Bio artist Boo Chapple invited by Prof. Rob Zwijnenberg's honours class Who owns Life? at Leiden University     -       Baruch Spinoza, Ethics https://plato.stanford.edu/entries/spinoza/#Ethi   -       Špela Petrič, Confronting Vegetal Otherness: Skotopoiesis – semiotic triangle, 2015 https://www.spelapetric.org/scotopoiesis -          Sandilands, Catriona (2017), ‘Vegetate', in J. J. Cohen and L. Duckert (eds), Veer Ecology: A Companion for Environmental Thinking, Minneapolis: University of Minnesota Press, pp. 16–29. https://www.academia.edu/50082847/Vegetate     -       Marion Laval-Jeantet and Benoît Mangin, May the Horse live in me! https://dublin.sciencegallery.com/blood-1/may-the-horse-live-in-me-#:~:text=The%20performance%20May%20the%20Horse,an%20injection%20of%20horse%27s%20blood.   -       Donna Haraway, Response-ability in her book Staying with the Trouble: Making Kin in the Chthulucene. Durham, NC: Duke University Press Books, 2016. See lecture: https://www.youtube.com/watch?v=GrYA7sMQaBQ   -       Gilles Deleuze and Félix Guattari, What Is Philosophy? Translated by Graham Burchell and Hugh Tomlinson. London etc: Verso, 1994. See:  https://plato.stanford.edu/entries/deleuze/#WhatPhil   -       Jacques Ellul: Stanford Encyclopedia of Philosophy. https://plato.stanford.edu/entries/technology/   -       Michel Serres, Birth of Physics, clinamen press 2000   -       The Center For Genomic Gastronomy   https://genomicgastronomy.com/work/2009-2/community-meat-lab/   -       Adriana Knouf, Xenological Entanglements. 001a: Trying Plastic Variations https://tranxxenolab.net/projects/eromatase/       -       Rossi Braidotti : https://rosibraidotti.com/ -          Lem, Stanisław (2012), Przekładaniec [Layer Cake]. Warszawa: Agora, e-book. Andrzej Wajda, (1968), Layer Cake, https://www.imdb.com/title/tt0063468/    -       Gilles Deleuze Difference and Repetition. Translated by Paul Patton. New York: Columbia University Press, 1995. See: https://plato.stanford.edu/entries/deleuze/#DiffRepe   -       Denise Ferreira da Silva, On difference without separability https://static1.squarespace.com/static/574dd51d62cd942085f12091/t/5c157d5c1ae6cf4677819e69/1544912221105/D+Ferreira+da+Silva+-+On+Difference+Without+Separability.pdf   -       Michel Foucault https://plato.stanford.edu/entries/foucault/   -       Immanuel Kant https://plato.stanford.edu/entries/kant/   -       Paul B. Preciado, Testo Junkie: Sex, Drugs, and Biopolitics in the Pharmacopornographic Era. Translated by Bruce Benderson. New York: The Feminist Press at CUNY, 2013   -       Dr Luciana Parisi https://scholars.duke.edu/person/Luciana.Parisi   -       The Commons https://www.newyorker.com/culture/essay/the-theft-of-the-commons     About   Agnieszka Anna Wołodźko, is a lecturer and researcher teaching contemporary philosophy and art-science relations at AKI Academy of Art and Design ArtEZ since 2017. At AKI, Artez she has founded a biolab space where she runs a BIOMATTERs, an artistic research programme that explores how to work with living matters through hands on engagement, where difficult philosophical, ethical and ecocritical questions are not only discussed but also tangibly faced. Her research focusses on post-humanism, ecocriticism, affect theory and new materialism at the intersection of art, ethics and biotechnology.   Her book Affect as Contamination. Embodiment in Bioart and Biotechnology is thus a result not only of her PhD research, but also her work as an experimentative educator, where next to analytical discussion on embodiment she reveals personal, intimate and often difficult because risky implications of being a body outside the possibility of innocence. Contamination equally in her writing and work as an educator, becomes  a way of thinking as well as a way of being that implies reimagination of not only what it means to be a body in the age of biotechnological manipulation, but also how to care and feel responsible when practicing embodiment.   Mijke van der Drift   Mijke van der Drift is a philosopher and educator working on ethics, trans studies, and anti-colonial philosophy. Mijke is a tutor at the Royal College of Art, London. Mijke's work has appeared in the Journal of Speculative Philosophy, the Journal of Aesthetics and Culture, in various independent publications as well as chapters in The Emergence of Trans (Routledge 2020), and The New Feminist Literary Studies Reader (Cambridge UP 2020). Van der Drift is founding member of the art collective Red Forest. They have made work for the Milano Triennale (2022), the Helsinki Biennale (2023) as part of their research into Extractivism, Fossil Fascism, and cultures of resistance. With Nat Raha, Mijke is writing Trans Femme Futures.      

Escape into the sewers this week with the bleak WWII film Kanal! The guys discuss the film's influence on modern cinema (including The Descent), the backlash to the film from the Polish government, Daisy's heroic character that may have inspired Ellen Ripley, the look and sound design of the sewer and much more.   Next week: Civil war! Questions? Comments? Suggestions? You can always shoot us an e-mail at forscreenandcountry@gmail.com   Full List: https://www.pastemagazine.com/movies/war-movies/the-100-greatest-war-movies-of-all-time Facebook: https://www.facebook.com/forscreenandcountry Twitter: https://www.twitter.com/fsacpod Our logo was designed by the wonderful Mariah Lirette (https://instagram.com/its.mariah.xo) Kanal stars Teresa Iżewska, Tadeusz Janczar, Wieńczysław Gliński, Tadeusz Gwiazdowski, Stanisław Mikulski and Emil Karewicz; directed by Andrzej Wajda. Is It Streaming? USA: Criterion Channel Canada: Criterion Channel UK: N/A Learn more about your ad choices. Visit megaphone.fm/adchoices

We take to Warsaw's Sewers this week with Andrzej Wajda's 1957 Second World War epic, Kanal!Facebook - https://www.facebook.com/ScuttlebuttMovieReviewsInstagram- https://www.instagram.com/scuttlebuttreviews/?hl=enYoutube -https://www.youtube.com/channel/UCwbgZzUyQc--6MUwA_CtFvQPatreon -https://www.patreon.com/Scuttlebuttpodcast

This week, Emma and Antonella discuss the 1958 Andrzej Wajda film, Ashes and Diamonds. You'll get the plot and a breakdown of the aesthetics and cinematography from the film you've never heard of, but should see! (Also, so obviously an Emma pick, she knows...) Hosted on Acast. See acast.com/privacy for more information.

On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, specifically looking at the films they released between 1984 and 1986. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s.   And, in case you did not listen to Part 1 yet, let me reiterate that the focus here will be on the films and the creatives, not the Weinsteins. The Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and that Miramax logo and the names associated with it should not stop anyone from enjoying some very well made movies because they now have an unfortunate association with two spineless chucklenuts who proclivities would not be known by the outside world for decades to come.   Well, there is one movie this episode where we must talk about the Weinsteins as the creatives, but when talking about that film, “creatives” is a derisive pejorative.    We ended our previous episode at the end of 1983. Miramax had one minor hit film in The Secret Policeman's Other Ball, thanks in large part to the film's association with members of the still beloved Monty Python comedy troupe, who hadn't released any material since The Life of Brian in 1979.   1984 would be the start of year five of the company, and they were still in need of something to make their name. Being a truly independent film company in 1984 was not easy. There were fewer than 20,000 movie screens in the entire country back then, compared to nearly 40,000 today. National video store chains like Blockbuster did not exist, and the few cable channels that did exist played mostly Hollywood films. There was no social media for images and clips to go viral.   For comparison's sake, in A24's first five years, from its founding in August 2012 to July 2017, the company would have a number of hit films, including The Bling Ring, The Lobster, Spring Breakers, and The Witch, release movies from some of indie cinema's most respected names, including Andrea Arnold, Robert Eggers, Atom Egoyan, Daniel Kwan and Daniel Scheinert, Lynn Shelton, Trey Edward Shults, Gus Van Sant, and Denis Villeneuve, and released several Academy Award winning movies, including the Amy Winehouse documentary Amy, Alex Garland's Ex Machina, Lenny Abrahamson's Room and Barry Jenkins' Moonlight, which would upset front runner La La Land for the Best Picture of 2016.   But instead of leaning into the American independent cinema world the way Cinecom and Island were doing with the likes of Jonathan Demme and John Sayles, Miramax would dip their toes further into the world of international cinema.   Their first release for 1984 would be Ruy Guerra's Eréndira. The screenplay by Nobel Prize winner Gabriel García Márquez was based on his 1972 novella The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother, which itself was based off a screenplay Márquez had written in the early 1960s, which, when he couldn't get it made at the time, he reduced down to a page and a half for a sequence in his 1967 magnum opus One Hundred Years of Solitude. Between the early 1960s and the early 1980s, Márquez would lose the original draft of Eréndira, and would write a new script based off what he remembered writing twenty years earlier.    In the story, a young woman named Eréndira lives in a near mansion situation in an otherwise empty desert with her grandmother, who had collected a number of paper flowers and assorted tchotchkes over the years. One night, Eréndira forgets to put out some candles used to illuminate the house, and the house and all of its contents burn to the ground. With everything lost, Eréndira's grandmother forces her into a life of prostitution. The young woman quickly becomes the courtesan of choice in the region. With every new journey, an ever growing caravan starts to follow them, until it becomes for all intents and purposes a carnival, with food vendors, snake charmers, musicians and games of chance.   Márquez's writing style, known as “magic realism,” was very cinematic on the page, and it's little wonder that many of his stories have been made into movies and television miniseries around the globe for more than a half century. Yet no movie came as close to capturing that Marquezian prose quite the way Guerra did with Eréndira. Featuring Greek goddess Irene Papas as the Grandmother, Brazilian actress Cláudia Ohana, who happened to be married to Guerra at the time, as the titular character, and former Bond villain Michael Lonsdale in a small but important role as a Senator who tries to help Eréndira get out of her life as a slave, the movie would be Mexico's entry into the 1983 Academy Award race for Best Foreign Language Film.   After acquiring the film for American distribution, Miramax would score a coup by getting the film accepted to that year's New York Film Festival, alongside such films as Robert Altman's Streamers, Jean Lucy Godard's Passion, Lawrence Kasdan's The Big Chill, Francis Ford Coppola's Rumble Fish, and Andrzej Wajda's Danton.   But despite some stellar reviews from many of the New York City film critics, Eréndira would not get nominated for Best Foreign Language Film, and Miramax would wait until April 27th, 1984, to open the film at the Lincoln Plaza Cinemas, one of the most important theatres in New York City at the time to launch a foreign film. A quarter page ad in the New York Times included quotes from the Village Voice, New York Magazine, Vincent Canby of the Times and Roger Ebert, the movie would gross an impressive $25,500 in its first three days. Word of mouth in the city would be strong, with its second weekend gross actually increasing nearly 20% to $30,500. Its third weekend would fall slightly, but with $27k in the till would still be better than its first weekend.   It wouldn't be until Week 5 that Eréndira would expand into Los Angeles and Chicago, where it would continue to gross nearly $20k per screen for several more weeks. The film would continue to play across the nation for more than half a year, and despite never making more than four prints of the film, Eréndira would gross more than $600k in America, one of the best non-English language releases for all of 1984.   In their quickest turnaround from one film to another to date, Miramax would release Claude Lelouch's Edith and Marcel not five weeks after Eréndira.   If you're not familiar with the name Claude Chabrol, I would highly suggest becoming so. Chabrol was a part of the French New Wave filmmakers alongside Jean-Luc Godard, Jacques Rivette, Éric Rohmer, and François Truffaut who came up as film critics for the influential French magazine Cahiers [ka-yay] du Cinéma in the 1950s, who would go on to change the direction of French Cinema and how film fans appreciated films and filmmakers through the concept of The Auteur Theory, although the theory itself would be given a name by American film critic Andrew Sarris in 1962.   Of these five critics turned filmmakers, Chabrol would be considered the most prolific and commercial. Chabrol would be the first of them to make a film, Le Beau Serge, and between 1957 and his death in 2010, he would make 58 movies. That's more than one new movie every year on average, not counting shorts and television projects he also made on the side.   American audiences knew him best for his 1966 global hit A Man and a Woman, which would sell more than $14m in tickets in the US and would be one of the few foreign language films to earn Academy Award nominations outside of the Best Foreign Language Film race. Lead actress Anouk Aimee would get a nod, and Chabrol would earn two on the film, for Best Director, which he would lose to Fred Zimmerman and A Man for All Seasons, and Best Original Screenplay, which he would win alongside his co-writer Pierre Uytterhoeven.   Edith and Marcel would tell the story of the love affair between the iconic French singer Edith Piaf and Marcel Cerdan, the French boxer who was the Middleweight Champion of the World during their affair in 1948 and 1949. Both were famous in their own right, but together, they were the Brangelina of post-World War II France. Despite the fact that Cerdan was married with three kids, their affair helped lift the spirits of the French people, until his death in October 1949, while he was flying from Paris to New York to see Piaf.   Fans of Raging Bull are somewhat familiar with Marcel Cerdan already, as Cerdan's last fight before his death would find Cerdan losing his middleweight title to Jake LaMotta.   In a weird twist of fate, Patrick Dewaere, the actor Chabrol cast as Cerdan, committed suicide just after the start of production, and while Chabrol considered shutting down the film in respect, it would be none other than Marcel Cerdan, Jr. who would step in to the role of his own father, despite never having acted before, and being six years older than his father was when he died.   When it was released in France in April 1983, it was an immediate hit, become the second highest French film of the year, and the sixth highest grosser of all films released in the country that year. However, it would not be the film France submitted to that year's Academy Award race. That would be Diane Kurys' Entre Nous, which wasn't as big a hit in France but was considered a stronger contender for the nomination, in part because of Isabelle Hupert's amazing performance but also because Entre Nous, as 110 minutes, was 50 minutes shorter than Edith and Marcel.   Harvey Weinstein would cut twenty minutes out of the film without Chabrol's consent or assistance, and when the film was released at the 57th Street Playhouse in New York City on Sunday, June 3rd, the gushing reviews in the New York Times ad would actually be for Chabrol's original cut, and they would help the film gross $15,300 in its first five days. But once the other New York critics who didn't get to see the original cut of the film saw this new cut, the critical consensus started to fall. Things felt off to them, and they would be, as a number of short trims made by Weinstein would remove important context for the film for the sake of streamlining the film. Audiences would pick up on the changes, and in its first full weekend of release, the film would only gross $12k. After two more weeks of grosses of under $4k each week, the film would close in New York City. Edith and Marcel would never play in another theatre in the United States.   And then there would be another year plus long gap before their next release, but we'll get into the reason why in a few moments.   Many people today know Rubén Blades as Daniel Salazar in Fear the Walking Dead, or from his appearances in The Milagro Beanfield War, Once Upon a Time in Mexico, or Predator 2, amongst his 40 plus acting appearances over the years, but in the early 1980s, he was a salsa and Latin Jazz musician and singer who had yet to break out of the New Yorican market. With an idea for a movie about a singer and musician not unlike himself trying to attempt a crossover success into mainstream music, he would approach his friend, director Leon Icasho, about teaming up to get the idea fleshed out into a real movie. Although Blades was at best a cult music star, and Icasho had only made one movie before, they were able to raise $6m from a series of local investors including Jack Rollins, who produced every Woody Allen movie from 1969's Take the Money and Run to 2015's Irrational Man, to make their movie, which they would start shooting in the Spanish Harlem section of New York City in December 1982.   Despite the luxury of a large budget for an independent Latino production, the shooting schedule was very tight, less than five weeks. There would be a number of large musical segments to show Blades' character Rudy's talents as a musician and singer, with hundreds of extras on hand in each scene. Icasho would stick to his 28 day schedule, and the film would wrap up shortly after the New Year.   Even though the director would have his final cut of the movie ready by the start of summer 1983, it would take nearly a year and a half for any distributor to nibble. It wasn't that the film was tedious. Quite the opposite. Many distributors enjoyed the film, but worried about, ironically, the ability of the film to crossover out of the Latino market into the mainstream. So when Miramax came along with a lower than hoped for offer to release the film, the filmmakers took the deal, because they just wanted the film out there.   Things would start to pick up for the film when Miramax submitted the film to be entered into the 1985 Cannes Film Festival, and it would be submitted to run in the prestigious Directors Fortnight program, alongside Mike Newell's breakthrough film, Dance with a Stranger, Victor Nunez's breakthrough film, A Flash of Green, and Wayne Wang's breakthrough film Dim Sum: A Little Bit of Heart. While they were waiting for Cannes to get back to them, they would also learn the film had been selected to be a part of The Lincoln Center's New Directors/New Films program, where the film would earn raves from local critics and audiences, especially for Blades, who many felt was a screen natural. After more praise from critics and audiences on the French Riviera, Miramax would open Crossover Dreams at the Cinema Studio theatre in midtown Manhattan on August 23rd, 1985. Originally booked into the smaller 180 seat auditorium, since John Huston's Prizzi's Honor was still doing good business in the 300 seat house in its fourth week, the theatre would swap houses for the films when it became clear early on Crossover Dreams' first day that it would be the more popular title that weekend. And it would. While Prizzi would gross a still solid $10k that weekend, Crossover Dreams would gross $35k. In its second weekend, the film would again gross $35k. And in its third weekend, another $35k. They were basically selling out every seat at every show those first three weeks. Clearly, the film was indeed doing some crossover business.   But, strangely, Miramax would wait seven weeks after opening the film in New York to open it in Los Angeles. With a new ad campaign that de-emphasized Blades and played up the dreamer dreaming big aspect of the film, Miramax would open the movie at two of the more upscale theatres in the area, the Cineplex Beverly Center on the outskirts of Beverly Hills, and the Cineplex Brentwood Twin, on the west side where many of Hollywood's tastemakers called home. Even with a plethora of good reviews from the local press, and playing at two theatres with a capacity of more than double the one theatre playing the film in New York, Crossover Dreams could only manage a neat $13k opening weekend.   Slowly but surely, Miramax would add a few more prints in additional major markets, but never really gave the film the chance to score with Latino audiences who may have been craving a salsa-infused musical/drama, even if it was entirely in English. Looking back, thirty-eight years later, that seems to have been a mistake, but it seems that the film's final gross of just $250k after just ten weeks of release was leaving a lot of money on the table. At awards time, Blades would be nominated for an Independent Spirit Award for Best Actor, but otherwise, the film would be shut out of any further consideration.   But for all intents and purposes, the film did kinda complete its mission of turning Blades into a star. He continues to be one of the busiest Latino actors in Hollywood over the last forty years, and it would help get one of his co-stars, Elizabeth Peña, a major job in a major Hollywood film the following year, as the live-in maid at Richard Dreyfuss and Bette Midler's house in Paul Mazursky's Down and Out in Beverly Hills, which would give her a steady career until her passing in 2014. And Icasho himself would have a successful directing career both on movie screens and on television, working on such projects as Miami Vice, Crime Story, The Equalizer, Criminal Minds, and Queen of the South, until his passing this past May.   I'm going to briefly mention a Canadian drama called The Dog Who Stopped the War that Miramax released on three screens in their home town of Buffalo on October 25th, 1985. A children's film about two groups of children in a small town in Quebec during their winter break who get involved in an ever-escalating snowball fight. It would be the highest grossing local film in Canada in 1984, and would become the first in a series of 25 family films under a Tales For All banner made by a company called Party Productions, which will be releasing their newest film in the series later this year. The film may have huge in Canada, but in Buffalo in the late fall, the film would only gross $15k in its first, and only, week in theatres. The film would eventually develop a cult following thanks to repeated cable screenings during the holidays every year.   We'll also give a brief mention to an Australian action movie called Cool Change, directed by George Miller. No, not the George Miller who created the Mad Max series, but the other Australian director named George Miller, who had to start going by George T. Miller to differentiate himself from the other George Miller, even though this George Miller was directing before the other George Miller, and even had a bigger local and global hit in 1982 with The Man From Snowy River than the other George Miller had with Mad Max II, aka The Road Warrior. It would also be the second movie released by Miramax in a year starring a young Australian ingenue named Deborra-Lee Furness, who was also featured in Crossover Dreams. Today, most people know her as Mrs. Hugh Jackman.   The internet and several book sources say the movie opened in America on March 14th, 1986, but damn if I can find any playdate anywhere in the country, period. Not even in the Weinsteins' home territory of Buffalo. A critic from the Sydney Morning Herald would call the film, which opened in Australia four weeks after it allegedly opened in America, a spectacularly simplistic propaganda piece for the cattle farmers of the Victorian high plains,” and in its home country, it would barely gross 2% of its $3.5m budget.   And sticking with brief mentions of Australian movies Miramax allegedly released in American in the spring of 1986, we move over to one of three movies directed by Brian Trenchard-Smith that would be released during that year. In Australia, it was titled Frog Dreaming, but for America, the title was changed to The Quest. The film stars Henry Thomas from E.T. as an American boy who has moved to Australia to be with his guardian after his parents die, who finds himself caught up in the magic of a local Aboriginal myth that might be more real than anyone realizes.   And like Cool Change, I cannot find any American playdates for the film anywhere near its alleged May 1st, 1986 release date. I even contacted Mr. Trenchard-Smith asking him if he remembers anything about the American release of his film, knowing full well it's 37 years later, but while being very polite in his response, he was unable to help.       Finally, we get back to the movies we actually can talk about with some certainty. I know our next movie was actually released in American theatres, because I saw it in America at a cinema.   Twist and Shout tells the story of two best friends, Bjørn and Erik, growing up in suburbs of Copenhagen, Denmark in 1963. The music of The Beatles, who are just exploding in Europe, help provide a welcome respite from the harsh realities of their lives.   Directed by Billie August, Twist and Shout would become the first of several August films to be released by Miramax over the next decade, including his follow-up, which would end up become Miramax's first Oscar-winning release, but we'll be talking about that movie on our next episode.   August was often seen as a spiritual successor to Ingmar Bergman within Scandinavian cinema, so much so that Bergman would handpick August to direct a semi-autobiographical screenplay of his, The Best Intentions, in the early 1990s, when it became clear to Bergman that he would not be able to make it himself. Bergman's only stipulation was that August would need to cast one of his actresses from Fanny and Alexander, Pernilla Wallgren, as his stand-in character's mother. August and Wallgren had never met until they started filming. By the end of shooting, Pernilla Wallgren would be Pernilla August, but that's another story for another time.   In a rare twist, Twist and Shout would open in Los Angeles before New York City, at the Cineplex Beverly Center August 22nd, 1986, more than two years after it opened across Denmark. Loaded with accolades including a Best Picture Award from the European Film Festival and positive reviews from the likes of Gene Siskel and Michael Wilmington, the movie would gross, according to Variety, a “crisp” $14k in its first three days. In its second weekend, the Beverly Center would add a second screen for the film, and the gross would increase to $17k. And by week four, one of those prints at the Beverly Center would move to the Laemmle Monica 4, so those on the West Side who didn't want to go east of the 405 could watch it. But the combined $13k gross would not be as good as the previous week's $14k from the two screens at the Beverly Center.   It wouldn't be until Twist and Shout's sixth week of release they would finally add a screen in New York City, the 68th Street Playhouse, where it would gross $25k in its first weekend there. But after nine weeks, never playing in more than five theatres in any given weekend, Twist and Shout was down and out, with only $204k in ticket sales. But it was good enough for Miramax to acquire August's next movie, and actually get it into American theatres within a year of its release in Denmark and Sweden. Join us next episode for that story.   Earlier, I teased about why Miramax took more than a year off from releasing movies in 1984 and 1985. And we've reached that point in the timeline to tell that story.   After writing and producing The Burning in 1981, Bob and Harvey had decided what they really wanted to do was direct. But it would take years for them to come up with an idea and flesh that story out to a full length screenplay. They'd return to their roots as rock show promoters, borrowing heavily from one of Harvey's first forays into that field, when he and a partner, Corky Burger, purchased an aging movie theatre in Buffalo in 1974 and turned it into a rock and roll hall for a few years, until they gutted and demolished the theatre, so they could sell the land, with Harvey's half of the proceeds becoming much of the seed money to start Miramax up.   After graduating high school, three best friends from New York get the opportunity of a lifetime when they inherit an old run down hotel upstate, with dreams of turning it into a rock and roll hotel. But when they get to the hotel, they realize the place is going to need a lot more work than they initially realized, and they realize they are not going to get any help from any of the locals, who don't want them or their silly rock and roll hotel in their quaint and quiet town.   With a budget of only $5m, and a story that would need to be filmed entirely on location, the cast would not include very many well known actors.   For the lead role of Danny, the young man who inherits the hotel, they would cast Daniel Jordano, whose previous acting work had been nameless characters in movies like Death Wish 3 and Streetwalkin'. This would be his first leading role.   Danny's two best friends, Silk and Spikes, would be played by Leon W. Grant and Matthew Penn, respectively. Like Jordano, both Grant and Penn had also worked in small supporting roles, although Grant would actually play characters with actual names like Boo Boo and Chollie. Penn, the son of Bonnie and Clyde director Arthur Penn, would ironically have his first acting role in a 1983 musical called Rock and Roll Hotel, about a young trio of musicians who enter a Battle of the Bands at an old hotel called The Rock and Roll Hotel. This would also be their first leading roles.   Today, there are two reasons to watch Playing For Keeps.   One of them is to see just how truly awful Bob and Harvey Weinstein were as directors. 80% of the movie is master shots without any kind of coverage, 15% is wannabe MTV music video if those videos were directed by space aliens handed video cameras and not told what to do with them, and 5% Jordano mimicking Kevin Bacon in Footloose but with the heaviest New Yawk accent this side of Bensonhurst.   The other reason is to watch a young actress in her first major screen role, who is still mesmerizing and hypnotic despite the crapfest she is surrounded by. Nineteen year old Marisa Tomei wouldn't become a star because of this movie, but it was clear very early on she was going to become one, someday.   Mostly shot in and around the grounds of the Bethany Colony Resort in Bethany PA, the film would spend six weeks in production during June and July of 1984, and they would spend more than a year and a half putting the film together. As music men, they knew a movie about a rock and roll hotel for younger people who need to have a lot of hip, cool, teen-friendly music on the soundtrack. So, naturally, the Weinsteins would recruit such hip, cool, teen-friendly musicians like Pete Townshend of The Who, Phil Collins, Peter Frampton, Sister Sledge, already defunct Duran Duran side project Arcadia, and Hinton Battle, who had originated the role of The Scarecrow in the Broadway production of The Wiz. They would spend nearly $500k to acquire B-sides and tossed away songs that weren't good enough to appear on the artists' regular albums.   Once again light on money, Miramax would sent the completed film out to the major studios to see if they'd be willing to release the movie. A sale would bring some much needed capital back into the company immediately, and creating a working relationship with a major studio could be advantageous in the long run. Universal Pictures would buy the movie from Miramax for an undisclosed sum, and set an October 3rd release.   Playing For Keeps would open on 1148 screens that day, including 56 screens in the greater Los Angeles region and 80 in the New York City metropolitan area. But it wasn't the best week to open this film. Crocodile Dundee had opened the week before and was a surprise hit, spending a second week firmly atop the box office charts with $8.2m in ticket sales. Its nearest competitor, the Burt Lancaster/Kirk Douglas comedy Tough Guys, would be the week's highest grossing new film, with $4.6m. Number three was Top Gun, earning $2.405m in its 21st week in theatres, and Stand By Me was in fourth in its ninth week with $2.396m. In fifth place, playing in only 215 theatres, would be another new opener, Children of a Lesser God, with $1.9m. And all the way down in sixth place, with only $1.4m in ticket sales, was Playing for Keeps.   The reviews were fairly brutal, and by that, I mean they were fair in their brutality, although you'll have to do some work to find those reviews. No one has ever bothered to link their reviews for Playing For Keeps at Rotten Tomatoes or Metacritic. After a second weekend, where the film would lose a quarter of its screens and 61% of its opening weekend business, Universal would cut its losses and dump the film into dollar houses. The final reported box office gross on the film would be $2.67m.   Bob Weinstein would never write or direct another film, and Harvey Weinstein would only have one other directing credit to his name, an animated movie called The Gnomes' Great Adventure, which wasn't really a directing effort so much as buying the American rights to a 1985 Spanish animated series called The World of David the Gnome, creating new English language dubs with actors like Tom Bosley, Frank Gorshin, Christopher Plummer, and Tony Randall, and selling the new versions to Nickelodeon.   Sadly, we would learn in October 2017 that one of the earliest known episodes of sexual harassment by Harvey Weinstein happened during the pre-production of Playing for Keeps.   In 1984, a twenty year old college junior Tomi-Ann Roberts was waiting tables in New York City, hoping to start an acting career. Weinstein, who one of her customers at this restaurant, urged Ms. Roberts to audition for a movie that he and his brother were planning to direct. He sent her the script and asked her to meet him where he was staying so they could discuss the film. When she arrived at his hotel room, the door was left slightly ajar, and he called on her to come in and close the door behind her.  She would find Weinstein nude in the bathtub,  where he told her she would give a much better audition if she were comfortable getting naked in front of him too, because the character she might play would have a topless scene. If she could not bare her breasts in private, she would not be able to do it on film. She was horrified and rushed out of the room, after telling Weinstein that she was too prudish to go along. She felt he had manipulated her by feigning professional interest in her, and doubted she had ever been under serious consideration. That incident would send her life in a different direction. In 2017, Roberts was a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter.   And on that sad note, we're going to take our leave.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1987.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, specifically looking at the films they released between 1984 and 1986. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s.   And, in case you did not listen to Part 1 yet, let me reiterate that the focus here will be on the films and the creatives, not the Weinsteins. The Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and that Miramax logo and the names associated with it should not stop anyone from enjoying some very well made movies because they now have an unfortunate association with two spineless chucklenuts who proclivities would not be known by the outside world for decades to come.   Well, there is one movie this episode where we must talk about the Weinsteins as the creatives, but when talking about that film, “creatives” is a derisive pejorative.    We ended our previous episode at the end of 1983. Miramax had one minor hit film in The Secret Policeman's Other Ball, thanks in large part to the film's association with members of the still beloved Monty Python comedy troupe, who hadn't released any material since The Life of Brian in 1979.   1984 would be the start of year five of the company, and they were still in need of something to make their name. Being a truly independent film company in 1984 was not easy. There were fewer than 20,000 movie screens in the entire country back then, compared to nearly 40,000 today. National video store chains like Blockbuster did not exist, and the few cable channels that did exist played mostly Hollywood films. There was no social media for images and clips to go viral.   For comparison's sake, in A24's first five years, from its founding in August 2012 to July 2017, the company would have a number of hit films, including The Bling Ring, The Lobster, Spring Breakers, and The Witch, release movies from some of indie cinema's most respected names, including Andrea Arnold, Robert Eggers, Atom Egoyan, Daniel Kwan and Daniel Scheinert, Lynn Shelton, Trey Edward Shults, Gus Van Sant, and Denis Villeneuve, and released several Academy Award winning movies, including the Amy Winehouse documentary Amy, Alex Garland's Ex Machina, Lenny Abrahamson's Room and Barry Jenkins' Moonlight, which would upset front runner La La Land for the Best Picture of 2016.   But instead of leaning into the American independent cinema world the way Cinecom and Island were doing with the likes of Jonathan Demme and John Sayles, Miramax would dip their toes further into the world of international cinema.   Their first release for 1984 would be Ruy Guerra's Eréndira. The screenplay by Nobel Prize winner Gabriel García Márquez was based on his 1972 novella The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother, which itself was based off a screenplay Márquez had written in the early 1960s, which, when he couldn't get it made at the time, he reduced down to a page and a half for a sequence in his 1967 magnum opus One Hundred Years of Solitude. Between the early 1960s and the early 1980s, Márquez would lose the original draft of Eréndira, and would write a new script based off what he remembered writing twenty years earlier.    In the story, a young woman named Eréndira lives in a near mansion situation in an otherwise empty desert with her grandmother, who had collected a number of paper flowers and assorted tchotchkes over the years. One night, Eréndira forgets to put out some candles used to illuminate the house, and the house and all of its contents burn to the ground. With everything lost, Eréndira's grandmother forces her into a life of prostitution. The young woman quickly becomes the courtesan of choice in the region. With every new journey, an ever growing caravan starts to follow them, until it becomes for all intents and purposes a carnival, with food vendors, snake charmers, musicians and games of chance.   Márquez's writing style, known as “magic realism,” was very cinematic on the page, and it's little wonder that many of his stories have been made into movies and television miniseries around the globe for more than a half century. Yet no movie came as close to capturing that Marquezian prose quite the way Guerra did with Eréndira. Featuring Greek goddess Irene Papas as the Grandmother, Brazilian actress Cláudia Ohana, who happened to be married to Guerra at the time, as the titular character, and former Bond villain Michael Lonsdale in a small but important role as a Senator who tries to help Eréndira get out of her life as a slave, the movie would be Mexico's entry into the 1983 Academy Award race for Best Foreign Language Film.   After acquiring the film for American distribution, Miramax would score a coup by getting the film accepted to that year's New York Film Festival, alongside such films as Robert Altman's Streamers, Jean Lucy Godard's Passion, Lawrence Kasdan's The Big Chill, Francis Ford Coppola's Rumble Fish, and Andrzej Wajda's Danton.   But despite some stellar reviews from many of the New York City film critics, Eréndira would not get nominated for Best Foreign Language Film, and Miramax would wait until April 27th, 1984, to open the film at the Lincoln Plaza Cinemas, one of the most important theatres in New York City at the time to launch a foreign film. A quarter page ad in the New York Times included quotes from the Village Voice, New York Magazine, Vincent Canby of the Times and Roger Ebert, the movie would gross an impressive $25,500 in its first three days. Word of mouth in the city would be strong, with its second weekend gross actually increasing nearly 20% to $30,500. Its third weekend would fall slightly, but with $27k in the till would still be better than its first weekend.   It wouldn't be until Week 5 that Eréndira would expand into Los Angeles and Chicago, where it would continue to gross nearly $20k per screen for several more weeks. The film would continue to play across the nation for more than half a year, and despite never making more than four prints of the film, Eréndira would gross more than $600k in America, one of the best non-English language releases for all of 1984.   In their quickest turnaround from one film to another to date, Miramax would release Claude Lelouch's Edith and Marcel not five weeks after Eréndira.   If you're not familiar with the name Claude Chabrol, I would highly suggest becoming so. Chabrol was a part of the French New Wave filmmakers alongside Jean-Luc Godard, Jacques Rivette, Éric Rohmer, and François Truffaut who came up as film critics for the influential French magazine Cahiers [ka-yay] du Cinéma in the 1950s, who would go on to change the direction of French Cinema and how film fans appreciated films and filmmakers through the concept of The Auteur Theory, although the theory itself would be given a name by American film critic Andrew Sarris in 1962.   Of these five critics turned filmmakers, Chabrol would be considered the most prolific and commercial. Chabrol would be the first of them to make a film, Le Beau Serge, and between 1957 and his death in 2010, he would make 58 movies. That's more than one new movie every year on average, not counting shorts and television projects he also made on the side.   American audiences knew him best for his 1966 global hit A Man and a Woman, which would sell more than $14m in tickets in the US and would be one of the few foreign language films to earn Academy Award nominations outside of the Best Foreign Language Film race. Lead actress Anouk Aimee would get a nod, and Chabrol would earn two on the film, for Best Director, which he would lose to Fred Zimmerman and A Man for All Seasons, and Best Original Screenplay, which he would win alongside his co-writer Pierre Uytterhoeven.   Edith and Marcel would tell the story of the love affair between the iconic French singer Edith Piaf and Marcel Cerdan, the French boxer who was the Middleweight Champion of the World during their affair in 1948 and 1949. Both were famous in their own right, but together, they were the Brangelina of post-World War II France. Despite the fact that Cerdan was married with three kids, their affair helped lift the spirits of the French people, until his death in October 1949, while he was flying from Paris to New York to see Piaf.   Fans of Raging Bull are somewhat familiar with Marcel Cerdan already, as Cerdan's last fight before his death would find Cerdan losing his middleweight title to Jake LaMotta.   In a weird twist of fate, Patrick Dewaere, the actor Chabrol cast as Cerdan, committed suicide just after the start of production, and while Chabrol considered shutting down the film in respect, it would be none other than Marcel Cerdan, Jr. who would step in to the role of his own father, despite never having acted before, and being six years older than his father was when he died.   When it was released in France in April 1983, it was an immediate hit, become the second highest French film of the year, and the sixth highest grosser of all films released in the country that year. However, it would not be the film France submitted to that year's Academy Award race. That would be Diane Kurys' Entre Nous, which wasn't as big a hit in France but was considered a stronger contender for the nomination, in part because of Isabelle Hupert's amazing performance but also because Entre Nous, as 110 minutes, was 50 minutes shorter than Edith and Marcel.   Harvey Weinstein would cut twenty minutes out of the film without Chabrol's consent or assistance, and when the film was released at the 57th Street Playhouse in New York City on Sunday, June 3rd, the gushing reviews in the New York Times ad would actually be for Chabrol's original cut, and they would help the film gross $15,300 in its first five days. But once the other New York critics who didn't get to see the original cut of the film saw this new cut, the critical consensus started to fall. Things felt off to them, and they would be, as a number of short trims made by Weinstein would remove important context for the film for the sake of streamlining the film. Audiences would pick up on the changes, and in its first full weekend of release, the film would only gross $12k. After two more weeks of grosses of under $4k each week, the film would close in New York City. Edith and Marcel would never play in another theatre in the United States.   And then there would be another year plus long gap before their next release, but we'll get into the reason why in a few moments.   Many people today know Rubén Blades as Daniel Salazar in Fear the Walking Dead, or from his appearances in The Milagro Beanfield War, Once Upon a Time in Mexico, or Predator 2, amongst his 40 plus acting appearances over the years, but in the early 1980s, he was a salsa and Latin Jazz musician and singer who had yet to break out of the New Yorican market. With an idea for a movie about a singer and musician not unlike himself trying to attempt a crossover success into mainstream music, he would approach his friend, director Leon Icasho, about teaming up to get the idea fleshed out into a real movie. Although Blades was at best a cult music star, and Icasho had only made one movie before, they were able to raise $6m from a series of local investors including Jack Rollins, who produced every Woody Allen movie from 1969's Take the Money and Run to 2015's Irrational Man, to make their movie, which they would start shooting in the Spanish Harlem section of New York City in December 1982.   Despite the luxury of a large budget for an independent Latino production, the shooting schedule was very tight, less than five weeks. There would be a number of large musical segments to show Blades' character Rudy's talents as a musician and singer, with hundreds of extras on hand in each scene. Icasho would stick to his 28 day schedule, and the film would wrap up shortly after the New Year.   Even though the director would have his final cut of the movie ready by the start of summer 1983, it would take nearly a year and a half for any distributor to nibble. It wasn't that the film was tedious. Quite the opposite. Many distributors enjoyed the film, but worried about, ironically, the ability of the film to crossover out of the Latino market into the mainstream. So when Miramax came along with a lower than hoped for offer to release the film, the filmmakers took the deal, because they just wanted the film out there.   Things would start to pick up for the film when Miramax submitted the film to be entered into the 1985 Cannes Film Festival, and it would be submitted to run in the prestigious Directors Fortnight program, alongside Mike Newell's breakthrough film, Dance with a Stranger, Victor Nunez's breakthrough film, A Flash of Green, and Wayne Wang's breakthrough film Dim Sum: A Little Bit of Heart. While they were waiting for Cannes to get back to them, they would also learn the film had been selected to be a part of The Lincoln Center's New Directors/New Films program, where the film would earn raves from local critics and audiences, especially for Blades, who many felt was a screen natural. After more praise from critics and audiences on the French Riviera, Miramax would open Crossover Dreams at the Cinema Studio theatre in midtown Manhattan on August 23rd, 1985. Originally booked into the smaller 180 seat auditorium, since John Huston's Prizzi's Honor was still doing good business in the 300 seat house in its fourth week, the theatre would swap houses for the films when it became clear early on Crossover Dreams' first day that it would be the more popular title that weekend. And it would. While Prizzi would gross a still solid $10k that weekend, Crossover Dreams would gross $35k. In its second weekend, the film would again gross $35k. And in its third weekend, another $35k. They were basically selling out every seat at every show those first three weeks. Clearly, the film was indeed doing some crossover business.   But, strangely, Miramax would wait seven weeks after opening the film in New York to open it in Los Angeles. With a new ad campaign that de-emphasized Blades and played up the dreamer dreaming big aspect of the film, Miramax would open the movie at two of the more upscale theatres in the area, the Cineplex Beverly Center on the outskirts of Beverly Hills, and the Cineplex Brentwood Twin, on the west side where many of Hollywood's tastemakers called home. Even with a plethora of good reviews from the local press, and playing at two theatres with a capacity of more than double the one theatre playing the film in New York, Crossover Dreams could only manage a neat $13k opening weekend.   Slowly but surely, Miramax would add a few more prints in additional major markets, but never really gave the film the chance to score with Latino audiences who may have been craving a salsa-infused musical/drama, even if it was entirely in English. Looking back, thirty-eight years later, that seems to have been a mistake, but it seems that the film's final gross of just $250k after just ten weeks of release was leaving a lot of money on the table. At awards time, Blades would be nominated for an Independent Spirit Award for Best Actor, but otherwise, the film would be shut out of any further consideration.   But for all intents and purposes, the film did kinda complete its mission of turning Blades into a star. He continues to be one of the busiest Latino actors in Hollywood over the last forty years, and it would help get one of his co-stars, Elizabeth Peña, a major job in a major Hollywood film the following year, as the live-in maid at Richard Dreyfuss and Bette Midler's house in Paul Mazursky's Down and Out in Beverly Hills, which would give her a steady career until her passing in 2014. And Icasho himself would have a successful directing career both on movie screens and on television, working on such projects as Miami Vice, Crime Story, The Equalizer, Criminal Minds, and Queen of the South, until his passing this past May.   I'm going to briefly mention a Canadian drama called The Dog Who Stopped the War that Miramax released on three screens in their home town of Buffalo on October 25th, 1985. A children's film about two groups of children in a small town in Quebec during their winter break who get involved in an ever-escalating snowball fight. It would be the highest grossing local film in Canada in 1984, and would become the first in a series of 25 family films under a Tales For All banner made by a company called Party Productions, which will be releasing their newest film in the series later this year. The film may have huge in Canada, but in Buffalo in the late fall, the film would only gross $15k in its first, and only, week in theatres. The film would eventually develop a cult following thanks to repeated cable screenings during the holidays every year.   We'll also give a brief mention to an Australian action movie called Cool Change, directed by George Miller. No, not the George Miller who created the Mad Max series, but the other Australian director named George Miller, who had to start going by George T. Miller to differentiate himself from the other George Miller, even though this George Miller was directing before the other George Miller, and even had a bigger local and global hit in 1982 with The Man From Snowy River than the other George Miller had with Mad Max II, aka The Road Warrior. It would also be the second movie released by Miramax in a year starring a young Australian ingenue named Deborra-Lee Furness, who was also featured in Crossover Dreams. Today, most people know her as Mrs. Hugh Jackman.   The internet and several book sources say the movie opened in America on March 14th, 1986, but damn if I can find any playdate anywhere in the country, period. Not even in the Weinsteins' home territory of Buffalo. A critic from the Sydney Morning Herald would call the film, which opened in Australia four weeks after it allegedly opened in America, a spectacularly simplistic propaganda piece for the cattle farmers of the Victorian high plains,” and in its home country, it would barely gross 2% of its $3.5m budget.   And sticking with brief mentions of Australian movies Miramax allegedly released in American in the spring of 1986, we move over to one of three movies directed by Brian Trenchard-Smith that would be released during that year. In Australia, it was titled Frog Dreaming, but for America, the title was changed to The Quest. The film stars Henry Thomas from E.T. as an American boy who has moved to Australia to be with his guardian after his parents die, who finds himself caught up in the magic of a local Aboriginal myth that might be more real than anyone realizes.   And like Cool Change, I cannot find any American playdates for the film anywhere near its alleged May 1st, 1986 release date. I even contacted Mr. Trenchard-Smith asking him if he remembers anything about the American release of his film, knowing full well it's 37 years later, but while being very polite in his response, he was unable to help.       Finally, we get back to the movies we actually can talk about with some certainty. I know our next movie was actually released in American theatres, because I saw it in America at a cinema.   Twist and Shout tells the story of two best friends, Bjørn and Erik, growing up in suburbs of Copenhagen, Denmark in 1963. The music of The Beatles, who are just exploding in Europe, help provide a welcome respite from the harsh realities of their lives.   Directed by Billie August, Twist and Shout would become the first of several August films to be released by Miramax over the next decade, including his follow-up, which would end up become Miramax's first Oscar-winning release, but we'll be talking about that movie on our next episode.   August was often seen as a spiritual successor to Ingmar Bergman within Scandinavian cinema, so much so that Bergman would handpick August to direct a semi-autobiographical screenplay of his, The Best Intentions, in the early 1990s, when it became clear to Bergman that he would not be able to make it himself. Bergman's only stipulation was that August would need to cast one of his actresses from Fanny and Alexander, Pernilla Wallgren, as his stand-in character's mother. August and Wallgren had never met until they started filming. By the end of shooting, Pernilla Wallgren would be Pernilla August, but that's another story for another time.   In a rare twist, Twist and Shout would open in Los Angeles before New York City, at the Cineplex Beverly Center August 22nd, 1986, more than two years after it opened across Denmark. Loaded with accolades including a Best Picture Award from the European Film Festival and positive reviews from the likes of Gene Siskel and Michael Wilmington, the movie would gross, according to Variety, a “crisp” $14k in its first three days. In its second weekend, the Beverly Center would add a second screen for the film, and the gross would increase to $17k. And by week four, one of those prints at the Beverly Center would move to the Laemmle Monica 4, so those on the West Side who didn't want to go east of the 405 could watch it. But the combined $13k gross would not be as good as the previous week's $14k from the two screens at the Beverly Center.   It wouldn't be until Twist and Shout's sixth week of release they would finally add a screen in New York City, the 68th Street Playhouse, where it would gross $25k in its first weekend there. But after nine weeks, never playing in more than five theatres in any given weekend, Twist and Shout was down and out, with only $204k in ticket sales. But it was good enough for Miramax to acquire August's next movie, and actually get it into American theatres within a year of its release in Denmark and Sweden. Join us next episode for that story.   Earlier, I teased about why Miramax took more than a year off from releasing movies in 1984 and 1985. And we've reached that point in the timeline to tell that story.   After writing and producing The Burning in 1981, Bob and Harvey had decided what they really wanted to do was direct. But it would take years for them to come up with an idea and flesh that story out to a full length screenplay. They'd return to their roots as rock show promoters, borrowing heavily from one of Harvey's first forays into that field, when he and a partner, Corky Burger, purchased an aging movie theatre in Buffalo in 1974 and turned it into a rock and roll hall for a few years, until they gutted and demolished the theatre, so they could sell the land, with Harvey's half of the proceeds becoming much of the seed money to start Miramax up.   After graduating high school, three best friends from New York get the opportunity of a lifetime when they inherit an old run down hotel upstate, with dreams of turning it into a rock and roll hotel. But when they get to the hotel, they realize the place is going to need a lot more work than they initially realized, and they realize they are not going to get any help from any of the locals, who don't want them or their silly rock and roll hotel in their quaint and quiet town.   With a budget of only $5m, and a story that would need to be filmed entirely on location, the cast would not include very many well known actors.   For the lead role of Danny, the young man who inherits the hotel, they would cast Daniel Jordano, whose previous acting work had been nameless characters in movies like Death Wish 3 and Streetwalkin'. This would be his first leading role.   Danny's two best friends, Silk and Spikes, would be played by Leon W. Grant and Matthew Penn, respectively. Like Jordano, both Grant and Penn had also worked in small supporting roles, although Grant would actually play characters with actual names like Boo Boo and Chollie. Penn, the son of Bonnie and Clyde director Arthur Penn, would ironically have his first acting role in a 1983 musical called Rock and Roll Hotel, about a young trio of musicians who enter a Battle of the Bands at an old hotel called The Rock and Roll Hotel. This would also be their first leading roles.   Today, there are two reasons to watch Playing For Keeps.   One of them is to see just how truly awful Bob and Harvey Weinstein were as directors. 80% of the movie is master shots without any kind of coverage, 15% is wannabe MTV music video if those videos were directed by space aliens handed video cameras and not told what to do with them, and 5% Jordano mimicking Kevin Bacon in Footloose but with the heaviest New Yawk accent this side of Bensonhurst.   The other reason is to watch a young actress in her first major screen role, who is still mesmerizing and hypnotic despite the crapfest she is surrounded by. Nineteen year old Marisa Tomei wouldn't become a star because of this movie, but it was clear very early on she was going to become one, someday.   Mostly shot in and around the grounds of the Bethany Colony Resort in Bethany PA, the film would spend six weeks in production during June and July of 1984, and they would spend more than a year and a half putting the film together. As music men, they knew a movie about a rock and roll hotel for younger people who need to have a lot of hip, cool, teen-friendly music on the soundtrack. So, naturally, the Weinsteins would recruit such hip, cool, teen-friendly musicians like Pete Townshend of The Who, Phil Collins, Peter Frampton, Sister Sledge, already defunct Duran Duran side project Arcadia, and Hinton Battle, who had originated the role of The Scarecrow in the Broadway production of The Wiz. They would spend nearly $500k to acquire B-sides and tossed away songs that weren't good enough to appear on the artists' regular albums.   Once again light on money, Miramax would sent the completed film out to the major studios to see if they'd be willing to release the movie. A sale would bring some much needed capital back into the company immediately, and creating a working relationship with a major studio could be advantageous in the long run. Universal Pictures would buy the movie from Miramax for an undisclosed sum, and set an October 3rd release.   Playing For Keeps would open on 1148 screens that day, including 56 screens in the greater Los Angeles region and 80 in the New York City metropolitan area. But it wasn't the best week to open this film. Crocodile Dundee had opened the week before and was a surprise hit, spending a second week firmly atop the box office charts with $8.2m in ticket sales. Its nearest competitor, the Burt Lancaster/Kirk Douglas comedy Tough Guys, would be the week's highest grossing new film, with $4.6m. Number three was Top Gun, earning $2.405m in its 21st week in theatres, and Stand By Me was in fourth in its ninth week with $2.396m. In fifth place, playing in only 215 theatres, would be another new opener, Children of a Lesser God, with $1.9m. And all the way down in sixth place, with only $1.4m in ticket sales, was Playing for Keeps.   The reviews were fairly brutal, and by that, I mean they were fair in their brutality, although you'll have to do some work to find those reviews. No one has ever bothered to link their reviews for Playing For Keeps at Rotten Tomatoes or Metacritic. After a second weekend, where the film would lose a quarter of its screens and 61% of its opening weekend business, Universal would cut its losses and dump the film into dollar houses. The final reported box office gross on the film would be $2.67m.   Bob Weinstein would never write or direct another film, and Harvey Weinstein would only have one other directing credit to his name, an animated movie called The Gnomes' Great Adventure, which wasn't really a directing effort so much as buying the American rights to a 1985 Spanish animated series called The World of David the Gnome, creating new English language dubs with actors like Tom Bosley, Frank Gorshin, Christopher Plummer, and Tony Randall, and selling the new versions to Nickelodeon.   Sadly, we would learn in October 2017 that one of the earliest known episodes of sexual harassment by Harvey Weinstein happened during the pre-production of Playing for Keeps.   In 1984, a twenty year old college junior Tomi-Ann Roberts was waiting tables in New York City, hoping to start an acting career. Weinstein, who one of her customers at this restaurant, urged Ms. Roberts to audition for a movie that he and his brother were planning to direct. He sent her the script and asked her to meet him where he was staying so they could discuss the film. When she arrived at his hotel room, the door was left slightly ajar, and he called on her to come in and close the door behind her.  She would find Weinstein nude in the bathtub,  where he told her she would give a much better audition if she were comfortable getting naked in front of him too, because the character she might play would have a topless scene. If she could not bare her breasts in private, she would not be able to do it on film. She was horrified and rushed out of the room, after telling Weinstein that she was too prudish to go along. She felt he had manipulated her by feigning professional interest in her, and doubted she had ever been under serious consideration. That incident would send her life in a different direction. In 2017, Roberts was a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter.   And on that sad note, we're going to take our leave.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1987.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Nous vous l'avions annoncé dans notre précédent épisode : Quasimodo d'el paris  est le film choisi par Antoine pour ce nouvel épisode DRS Grand écart. Et dans un style très différent, Stefan a lui choisi de faire découvrir à son compère Cendres et diamant d'Andrzej Wajda. Deux salles deux ambiances, mais une grande famille du Cinéma encore une fois réunie. Très bonne écoute à toutes et à tous. Entourloupement vôtre    00:00:00 Générique 00:06:10 Quasimodo d'El Paris, Patrick Timsit, 1999 00:32:22 Cendres et diamants, Andrzej Wajda, 1958

Maciej Karpiński, prozaik, scenarzysta filmowy, pedagog i wieloletni wspólpracownik Andrzeja Wajdy. Jest założycielem i prezesem Zarządu Gildii Polskich Scenarzystów Filmowych. Do roku 2005 sprawował funkcję dyrektora Festiwalu Polskich Filmów Fabularnych w Gdyni. W 2005 został pełnomocnikiem Dyrektora Polskiego Instytutu Sztuki Filmowej ds. promocji zagranicznej. Ostatnio wydał książkę pt „Pan Wajda... Portret z pamięci”...

QUESTA È UNA PREVIEW! Il podcast completo è su BadTaste+ https://wp.me/pcLE6k-2C1h La terza puntata di Road To Cannes si occupa del 1981: edizione nella quale un film accettato in concorso a festival già iniziato sbaraglia la concorrenza, è L'uomo di ferro di Andrzej Wajda, instant film sui movimenti di Solidarnosc con forti legami con un altro film, più vecchio di Wajda. Tutto il giorno dopo dell'attentato a Karol Wojtyla. Un podcast a cura di Gabriele Niola e Bianca Ferrari, prodotto da Gabriele Niola, musiche di Le piccole morti.

Polskie kino i jego historia to mnóstwo intrygujących perspektyw i opowieści. W drugim sezonie “Powtórki z…” postaramy się je przed Wami ponownie odkryć. Witajcie w świecie “Powtórki z Holland”. Pomysł na drugi sezon narodził się przy okazji zeszłorocznego Festiwalu Polskich Filmów Fabularnych w Gdyni. To tam Agnieszka Holland została nagrodzona Platynowymi Lwami za całokształt twórczości. Wtedy zdecydowaliśmy, że to właśnie o jej filmach opowiemy, skupiając się na XX wieku.  Od “Zdjęć próbnych” do ‘Trzeciego cudu”, tydzień po tygodniu. Tak można byłoby streścić “Powtórkę z Holland”. W jej ramach usłyszycie o kinie moralnego niepokoju, studiach na FAMU, zagranicznych produkcjach czy też tłumaczeniu “Nieznośnej lekkości bytu” Milana Kundery. Pierwszy odcinek poświęcamy “Zdjęciom próbnym” a w nim – opowieść o cyklu “Sytuacje rodzinne”, czemu akurat Zespół Filmowy “X”, jak długa była kolejka na premierę dzieła i próba odpowiedzi na pytanie – skąd potrzeba autotematyzmu w kinie. SPIS TREŚCI 00:10 – 2:07 – Wprowadzenie 2:07 – 8:46 – W poszukiwaniu Zespołu 8:46 – 11:56 – Zespół filmowy “X” – Andrzej Wajda i Bolesław Michałek 11:56 – 16:07 – “Wieczór u Abdona” i adaptacje Iwaszkiewicza 16:07 – 29:37 – “Niedzielne dzieci” i cykl “Sytuacje rodzinne” 29:37 – 33:44 – Powstawanie scenariusza “Zdjęć próbnych” 33:44 – 44:37 – Omówienie “Zdjęć próbnych” 44:37 – 51:47 – Recepcja filmu 51:47 – 53:40 – Telewizja a kino moralnego niepokoju 53:40 – 54:33 – Andrzej Wajda o “Zdjęciach próbnych” 54:33 – Bibliografia i zakończenie Bibliografia zalecana jako uzupełnienie odcinka: Książki: – S.Bobowski, W poszukiwaniu siebie. Twórczość filmowa Agnieszki Holland, Wydawnictwo Uniwersytetu Wrocławskiego, 2001 – P. Bliński, Kinematograf o sobie, Wydawnictwo Uniwersytetu Gdańskiego, 2021 – Holland. Przewodnik Krytyki Politycznej, Warszawa 2012 – M.Hendrykowska, Kronika kinematografii polskiej 1895 – 1997, Ars Nova, 1999 – M.Jankun – Dopartowa, Gorzkie kino Agnieszki Holland, słowo/obraz/terytoria, 2000 – M.Kornatowska, Magia i pieniądze, Wydawnictwo Znak, 2012 – T.Lubelski, Historia kina polskiego 1895 – 2014, Universitas – K.Mąka – Malatyńska, Agnieszka Holland, Biblioteka Więzi, 2009 – K.Pasternak, Holland. Biografia od nowa, Wydawnictwo Znak, 2022 – A.Szczepańska, Do granic negocjacji. Historia zespołu filmowego “X” Andrzeja Wajdy (1972 – 1983), Universitas, 2017 Artykuły:  – J.Domaradzki, Film jest sztuką, “Film” 6/1973 – C.Dondziłło, Dzieci, rzeczy i szczęście, “Film” 13/1977 – B.Janicka, Miejsce w środku, “Kino” 3/1977 – H.Samsonowska, Rodzina – portret z natury, “Kino” 10/1977 – T.Sobolewski, Paweł odchodzi, “Film” 23/1977 – Wywiad o powstawaniu “Zdjęć próbnych” – prowadzenie B. Zagroba, “Film”, 5/1977 ︎ Podcast jest produkcją portalu Filmawka. Za przygotowanie merytoryczne oraz jego prowadzenie odpowiedzialny jest Maciej Kędziora, a za produkcję graficzną oraz dźwiękową odpowiadają Maja Głogowska oraz Szymon Pietrzak. Cykl jest całkowicie darmowy, publikowany co wtorek na platformach takich jak Spotify, iTunes, czy YouTube. Na okładce wykorzystaliśmy zdjęcia Agnieszki Holland dostępne w serwisie “Fototeka” Filmoteki Narodowej – Instytutu Audiowizualnego. W muzycznym wprowadzeniu do podcastu słychać fragment uwertury “Eros et Psyche” Lee Maddeforda oraz zapowiedź występu Agnieszki Holland przez dyrektora festiwalu w Rotterdamie. Zachęcamy do obserwowania nas na Spotify oraz do wystawienia pięciu gwiazdek na Apple Podcasts. To pozwala podcastowi piąć się do góry w rankingu. Cały projekt będzie dostępny również na naszym kanale YouTube!

Join Sean and Giannis in the sewers as Sean and Giannis try to evade Nazis as they watch "Kanal".Support the show (https://www.patreon.com/fkyouropinionpodcast)

A Kurbli bemutatja Andrzej Wajda Hamu és gyémánt című lengyel háborús filmdrámáját. A főszereplő Zbigniew Cybulski, Maciek figurájának megformálásával a második világháború utáni lengyel nemzedék hőse lett, amolyan kelet-európai James Dean.

Robespierre y Danton, figuras principales en la Revolución Francesa, dos personalidades fuertes y diferentes protagonizan este pedazo de la historia dirigido por Andrzej Wajda. Los actores Gerard Depardieu y Wojciech Pszoniak dan vida a dos hombres que compartieron ideales revolucionarios hasta que sus posturas divergieron. A lo largo del metraje se suceden las rencillas, las intrigas y las discusiones de los miembros del Comité de Salud Pública, el exaltado Saint Just, mano derecha de Robespierre, o los partidarios de Danton, el Cordelier Camille Desmoulins, y su amada Lucille. Todos eran jacobinos, compartían objetivos e ideales, hoy están enfrentados a muerte. Corre 1794, el año segundo de la República. Tiempos de miedo y carestía, cualquier ciudadano puede ser señalado por no cumplir los dictados de la República. La Revolución es como Saturno, devora a sus propios hijos, Wajda pone en boca de Danton esta frase. El diputado de la Convención ha vuelto a París pidiendo mesura a una espiral de ejecuciones que él mismo empezó. El requisamiento del periódico, las detenciones arbitrarias. Ya le espeta Philippeaux a un aterrado Demoulins en su angustiosa espera, ante la certeza de que su cabeza va a caer también en la cesta, los mecanismos de la política no tienen nada que ver con la justicia. En su cita, Danton ofrece suculentos manjares a su invitado, Maximilien, no probará bocado. Es imposible el entendimiento entre el Incorruptible, y el bon vivant, impulsivo Georges. A Robespierre no le tiembla el pulso, no derramará el vino aunque la copa esté llena hasta el borde. Danton, lenguaraz, impulsivo, se caga en los comités, él conoce al pueblo bien, de cerca. Se siente siempre en el film de Wajda la confusión, la inseguridad, la improvisación de unos hombres superados por las circunstancias. El hambre en las calles, la corrupción del poder durante el Reinado del Terrorlos arrestados hacinados en la Conciergerie, prisión y pórtico de la guillotina. El acero del artefacto espera, cubierto aún, en el cadalso. Wajda quiere ser veraz y lo consigue, reproduce las tensiones de esos hombres, el miedo de Lucille, la esposa de Demoulins, la incertidumbre de la sirvienta de Maximilien, le dice que nunca le ha visto tan atormentado. Maxim se siente atrapado en un dilema sin solución, si gana el proceso de Danton, el pueblo se le echará encima, si pierde, también. Mientras decapitan a Danton y sus seguidores, Robespierre observa con ojos vidriosos al hermano de su sirvienta recitar los Derechos del Hombre, prescritos antes por Saint-Just, por Danton, por él mismo, inspirados por Rousseau. El niño recita la letanía de memoria y quizá el febril dictador, en su contradicción, recuerda su infancia en un colegio donde recitó un discurso de bienvenida al mismo rey Luis XVI. R G Esta noche Danton grita al verdugo que valdrá la pena mostrar su cabeza a ese pueblo que le adora… Con Zacarías Cotán, Salvador Limón y Raúl Gallego

Michał Walkiewicz zaczyna od dobrych wiadomości: nie ma żadnych. Później próbuje podsumować Agnieszkę Grochowską. Ale czy zdąży w mniej niż godzinę? Aktorka jest twarzą dwóch dekad polskiego kina, więc będzie o czym rozmawiać. To rozmowa o nowych projektach, pracy na planach filmowych - polskich i zagranicznych, ale też wspomnienia z początków kariery. Pojawi się historia o angażu do Teatru Telewizji, który zaproponował jej Jan Englert jeszcze w czasie studiów (a krążyła plotka, że jeśli Englert kogoś wybiera, to ten ktoś niedługo…), o wejściu w świat, który wydawał się niedostępny i o pracy z legendami (Maja Komorowska, Andrzej Wajda, Zbigniew Zapasiewicz… Długo by wymieniać!). Jak do jej filmografii ma się komedia romantyczna „Tylko mnie kochaj”? Co nowego dla siebie odkryła po roli w „Jak pokochałam gangstera”? Jak odbierać słynne zakończenie filmu „Pręgi”? Zapraszamy na WALKIE-TALKIE.

Don't listen to Hunter, this is not episode eight. This is episode nine. This week, we talk about some of our most anticipated releases of 2022, what we've been watching recently, and then we review two of Hunter's favorite discoveries of the year. First, we learn how to pronounce Andrzej Wajda before we review his masterpiece, Kanal. In our second review, we continue to struggle with pronunciations of the names of the cast and crew of the legendary samurai film, The Sword of Doom. These are bleak films but it's a fun conversation we think you'll enjoy. You can follow us on Instagram: https://www.instagram.com/semi_cinematic Facebook: https://www.facebook.com/semicinematicpod https://twitter.com/semi_cinematic Semi Cinematic on Letterboxd: https://letterboxd.com/semicinematic/ Hunter on Letterboxd: https://letterboxd.com/huntertrobinson/ John on Letterboxd: https://letterboxd.com/aliasgenius/ Max on Letterboxd: https://letterboxd.com/maxmaniels/ email us at: semicinematicpod@gmail.com

En una nueva edición del viernes de cine en Página 13, Iván Valenzuela conversó con Ascanio Cavallo y Antonio Martínez, sobre la codicia y el drama que conviven en “La casa Gucci”, película basada en una oscura historia real. Además, profundizaron en el aniversario número 40 de “El hombre de hierro”, de Andrzej Wajda.

En una nueva edición del viernes de cine en Página 13, Iván Valenzuela conversó con Ascanio Cavallo y Antonio Martínez, sobre la codicia y el drama que conviven en “La casa Gucci”, película basada en una oscura historia real. Además, profundizaron en el aniversario número 40 de “El hombre de hierro”, de Andrzej Wajda.

Andrzej Wajda's Danton explores the French revolution through the Polish director's own experience under Soviet rule, a rule he saw as anti-worker and therefore anti-progress. Using the titular Danton and Robespierre, the film presents the tension of revolution, or perhaps violent revolution, if Wajda makes such a distinction, and particularly a revolution that seeks only to rotate who is in power instead of upturning power hierarchies. Revolutions that promise equality without upheaving power structures aren't revolutions. Equality must always broaden.

Andrzej Wajda's Danton explores the French revolution through the Polish director's own experience under Soviet rule, a rule he saw as anti-worker and therefore anti-progress. Using the titular Danton and Robespierre, the film presents the tension of revolution, or perhaps violent revolution, if Wajda makes such a distinction, and particularly a revolution that seeks only to rotate who is in power instead of upturning power hierarchies. Revolutions that promise equality without upheaving power structures aren't revolutions. Equality must always broaden.

TESTO DELL'ARTICOLO ➜ http://www.bastabugie.it/it/articoli.php?id=2955UOMO DELLA SPERANZA, IL FILM DI ANDRZEJ WAJDA SU LECH WALESA di Alessandra De Luca«Ho vissuto in Polonia l'occupazione nazista, la guerra, il regime comunista, l'affermarsi della libertà. Guardando i fatti della storia è sempre difficile separare colpevoli e innocenti, ma di una cosa sono certo: Lech Walesa è un indiscusso eroe dei nostri tempi. È stato il primo operaio a svolgere un ruolo determinante nella vita politica del nostro paese, che prima vedeva protagonisti solo intellettuali e aristocratici. Walesa ha capito che negoziare era meglio che ricattare e ha portato al successo l'intera Europa senza spargimenti di sangue». Ad affermarlo è il regista Andrzej Wajda, che ieri a Venezia ha presentato fuori concorso Walesa - Uomo della speranza , ritratto tra pubblico e privato del leader del sindacato Solidarnosc che ha capovolto l'ordine politico del dopoguerra europeo diventando simbolo della lotta per la democrazia. Dallo sciopero nel cantiere navale di Danzica nel 1970 all'elezione di Walesa alla Presidenza della Repubblica nel 1990, passando per l'introduzione della legge marziale in Polonia nel 1981 e l'assegnazione del Nobel per la Pace nel 1983 ritirato dalla moglie Danuta, il film ricostruisce la nascita della Nuova Europa utilizzando come griglia narrativa la celebre e profetica intervista che la giornalista Oriana Fallaci (interpretata da Maria Rosaria Omaggio), fece nel 1981 a un uomo tanto carismatico e coraggioso quanto controverso.«Walesa è il soggetto più difficile con il quale ho avuto a che fare durante i miei 55 anni di carriera cinematografica. Ammiro Lech da quando l'ho incontrato durante le trattative tra Solidarnosc e la Commissione Governativa e sono rimasto subito impressionato dalla sua lungimiranza, dalla lucidità con la quale valutava ciò che stava accadendo. Realizzare L'uomo di ferro nel 1981, film che ottenne un enorme successo in Polonia e che a Cannes vinse la Palma d'Oro, ha creato un rapporto ancora più forte con il movimento. Vorrei che questo film attirasse soprattutto i giovani. Quelli di una volta si facevano crescere i baffi per assomigliare a Lech, quelli di oggi non hanno idea di chi sia Walesa, un buon esempio per convincerli a partecipare attivamente alla nostra vita politica».Due scene nel film ci ricordano in modo particolare l'importanza che ebbe Karol Wojtyla nella lotta per la conquista della libertà: la famiglia Walesa in ginocchio davanti alle immagini televisive di papa Giovanni Paolo II in Polonia, nel 1979, visita che attirerà milioni di polacchi facendo crescere il ruolo della Chiesa Cattolica, e la firma delle trattative tra Solidarnosc, i comunisti e la Chiesa, firma per la quale Walesa utilizzò una grossa penna con le immagini del Santo Padre. «Solidarnosc non è stato il frutto delle conversazioni tra Walesa e Wojtyla, arrivato sulla scena quando il processo di rinnovamento era già in atto – spiega Wajda – ma la sua prima visita in Polonia dimostrò a tutti i cattolici polacchi che potevano sconfiggere la paura, che non avevano bisogno di alcun regime e che erano pronti per la libertà. Un evento che cambiò la mentalità dei miei connazionali e contribuì moltissimo al rafforzamento di Solidarnosc. In Wojtyla, che svolse un ruolo decisivo all'indomani dell'introduzione della legge marziale, il nostro paese aveva finalmente un rappresentante nel mondo molto più forte di qualunque politico a Mosca».Maria Rosaria Omaggio che sullo schermo fronteggia Walesa con pari carisma, aggiunge a proposito di Giovanni Paolo II: «Nulla mi ha spaventato nell'incarnare sullo schermo questa celebre giornalista, regina degli opposti. L'unico momento difficile è stato quando dovevo guardare una foto di Wojtyla vescovo esprimendo scetticismo e sfiducia: una scena che mi è costata una gran fatica visto l'amore che ho sempre provato per il futuro Pontefice».

Com a realização do Festival de Cannes 2021, Hugo, Juliana e Henrique decidiram escolher três filmes vencedores da Palma de Ouro e discuti-los neste episódio. Começam com um debate a respeito da importância histórica do festival, além do que aguardam para a edição deste ano. A conversa prossegue com o bate-papo sobre os filmes “O homem de ferro”, de Andrzej Wajda, “Coração selvagem”, de David Lynch, e “Gosto de cereja”, de Abbas Kiarostami. Trata-se de filmes repletos de camadas e ousadia, o que pode indicar um certo “espírito do tempo” de quando foram premiados. O título deste episódio inaugura uma modalidade que terá outras ocorrências no podcast: os “Olhares” trarão um recorte referente ao tema escolhido. Por saberem que não é possível abordar o tema por completo, nossos cinéfilos direcionam o foco para alguns títulos, a fim de, por meio do aprofundamento daquele filme específico, permitir um lampejo de compreensão para todos – tanto ouvintes quanto os próprios participantes. ------------------------------------------------- Entre em contato com o Cinefilia & Companhia, e deixe seus comentários, elogios e opiniões sobre os filmes tratados. E-mail: cinefilia.companhia@gmail.com Instagram: @cinefiliaecompanhia ------------------------------------------------- Coordenação, Pauta e Apresentação: Henrique Pires, Hugo Harris e Juliana Varella Edição do episódio: Hugo Harris Edição de vídeos: Gabriel Almeida Artes gráficas: Joe Borges

With Francine Stock What was it like working behind the Iron Curtain, when every dot and comma of a script had to be passed by the censor. Francine delves into the archives and hears from Milos Forman, Andrzej Wajda, Agnieszka Holland, Miklos Jancso, Jerzy Skolimowski, Krzysztof Zanussi, Jiri Menzel and Andrei Konchalovsky.

After abandoning the toxic relationships in Paris, Lee & Chris embark on an epic journey through war torn Poland, first encountering a boy wanting to make a stand, followed by a platoon doing what they can to survive before finally meeting a young man at a critical crossroad as the war draws to an end.

Serious unity on this episode amongst Catholic potato eating peoples. The gang cannonballs into the pool of divergent ideologies that is known as Ashes and Diamonds, a 1958 film by Polish director Andrzej Wajda that examines the immediate interwar period following the end of WWII. We chat about the film's criticisms of hierarchy, how it can be viewed through an anarchist angle, and our mutual thirst for Zbigniew Cybulski (who was referred to as the “Polish James Dean” in his time). Also we're not doing Sálo or The Phantom Menace next week as a head's up bc we're not emotionally equipped to tackle either film.Follow the show on Instagram for more updates: https://www.instagram.com/ghostkinopodcast/

In our 241st episode, we're talking spine #282-285 in the Criterion Collection: Andrzej Wajda's THREE WAR FILMS from 1955-58. Podcast's intro song 'Here Come the Creeps' by Ugly Cry Club. You can check out her blossoming body of work here: uglycryclub.bandcamp.com/releases Like us on Facebook! www.facebook.com/criterioncreeps/ Follow us on that Twitter! twitter.com/criterioncreeps Follow us on Instagram! instagram.com/criterioncreeps We've got a Patreon too, if you are so inclined to see this podcast continue to exist as new laptops don't buy themselves: patreon.com/criterioncreeps You can also subscribe to us on Soundcloud, iTunes, Google Play, and Stitcher!

„Literatūros ir meno“ apžvalga.Lietuvos dailininkų sąjungos Klaipėdos skyriaus Klaipėdos galerija pristato keramikės Kristinos Paulauskaitės-Ramonaitienės kūrybos parodą „(ne)LIESTI“. Autorė sako norinti, kad keramikos kūriniai būtų ne statiški, o patrauklūs visiems žiūrovams, ypač mažiesiems, kuriems svarbu klausyti, liesti, išgyventi.Eglės Baliutavičiūtės naujų knygų apžvalga: estų rašytojos Maarjos Kangro „Stiklo vaikas” ir Neringos Vaitkutės „Jeronimas Dryžius ir įsivaizduojamų draugų departamentas”.Muzikantas ir prodiuseris Viktoras Diawara įsteigė paramos fondą „Teriya“. Vienas pagrindinių fondo tikslų – Malyje įkurti kultūros centrą. Šia iniciatyva jis atiduoda pagarbą savo afrikietiškoms šaknims ir tėvui – garsiam Afrikos rašytojui Gaoussou Diawara.Darbą pradėjo naujoji lygių galimybių kontrolierė Birutė Sabatauskaitė. Kokiomis priemonėmis teisininkė ketina didinti visuomenės sąmoningumą ir suvokimą apie diskriminaciją?„4 milijonai”: pokalbis su Vokietijoje gyvenančia pianiste Guoda Gedvilaite.Pabaigus rodyti kino režisieriaus Andrzej Wajda filmų retrospektyvą, LRT PLIUS pradeda rodyti XXI a. skirtingų Lenkų kino režisierių darbus, sulaukusius didelio visuomenės dėmesio ne tik Lenkijoje, bet ir tarptautiniame kino kontekste.Dar viena naujiena LRT PLIUS eteryje – dokumentikos ciklas apie šiuolaikinio meno kūrėjus. Kiekvieną savaitę žiūrovai išvys vienas kitą papildančius „Vizionierių“ ir „Nuostabių minčių“ dokumentikos epizodus, supažindinsiančius su svarbiausiais Lietuvos ir užsienio šiuolaikinio meno kūrėjais.Ved. Indrė Kaminckaitė

In this episode, I speak with Titus Techera and Flagg Taylor about several films that address communism and the effects of tyranny and deceit on the human soul. We discuss themes of courage, freedom, privacy, shame, the purpose and role of art, and how we can become comprised over time by assenting to falsehood. We discuss how these films portray the challenges for regular people and how the experience of living under communism has lessons for us today. We also discuss the question of art and its relation to beauty, truth, and morality. Films we discuss include Florian Henckel von Donnersmarck's "The Lives of Others", about the spying of East German Stasi, and "Never Look Away", about Nazi and Communist totalitarianism, eugenics, truth, and the role of art. We also discuss the brilliant Polish film by Andrzej Wajda, "Katyn", about the Soviet murder of 12,000 Polish army officers, "Mr. Jones", about the Ukrainian Genocide by the Soviet Union, and more. These films are morally serious and very important for many reasons, not only because they clearly present the evils of communism, but because they powerfully reveal the challenges of living under totalitarianism and make us wrestle with our own weaknesses and corruption. They don't let us off the hook easily or simplify the difficulties. They also challenge us to self-introspection. As a character in "Katyn" says, "What does it matter that you think differently, if you don't act or live differently?" Warning: these films are not for children. They have some disturbing scenes, and I discuss some of my critiques in the podcast. Visit https://themoralimagination.com/episodes/titus-techera-amp-flagg-taylor for show notes and resources.

Titus & Flagg discuss Andrzej Wajda's last movie, a portrait of Poland's most famous painter, Wladyslaw Strzeminski, his struggle against Communism, how tyranny destroyed him, & his activity as a teacher.

Der Pole Andrzej Wajda gehörte zu den bedeutendsten Filmregisseuren Europas. Seine Mutter arbeitete als Lehrerin und sein Vater als Berufsoffizier. Wajda wuchs im militärischen Milieu auf. Bei einer Massenexekution 1940 wurde sein Vater ermordet. Während der deutschen Besetzung schloss er sich mit 16 Jahren der polnischen Untergrundarmee an. Autor: Detlef Wulke

Josh is joined once again by critic Britt Coundiff to finish their conversation on “The Masters” – this time focusing on films from some of the greatest filmmakers in cinema that are available on other streaming services. Episode Links The Criterion Channel Club Facebook Group Ashes and Diamonds, Directed by Andrzej Wajda | Where to Watch … Continue reading "Criterion Channel Surfing, Episode 38: The Masters on Other Streaming Services" The post Criterion Channel Surfing, Episode 38: The Masters on Other Streaming Services appeared first on Cinema Cocktail.

Marek Probosz is a preeminent film, television and stage actor in his native Poland, and likened across Eastern Europe as "the DeNiro of Poland,” Probosz has more than 50 starring roles to his credit. Many of his films have competed in key international festivals including Venice (Jerzy Skolimowski’s 30 Door Key, 1991), Cannes and Karlovy Vary (Jirí Svoboda’s award-winning End of the Lonely Farm Berghof, 1984) and San Sebastian (Frantisek Vlácil’s The Shadow of the Ferns, 1984). Probosz’s theatrical adaptation of Oscar Wilde’s Salome, which he wrote, directed and starred in, was cited by the Czech National Critics Poll as the No. 2 artistic event of 1986, after Sir Richard Attenborough’s Oscar-winning film Gandhi (1983) and ahead of Ingmar Bergman’s Oscar-winning Fanny and Alexander (1982).In 1987, Probosz came to the United States at the invitation of American Cinematheque. Since that time, he has collaborated with such Academy Award winners and nominees as F. Murray Abraham, Warren Beatty, Annette Bening, Don Cheadle, Katharine Hepburn; cinematographers Conrad Hall, Ryszard Lenczewski and Matthew Libatique; composer Jan A.P. Kaczmarek; directors Darren Aronofsky, Todd Field, Agnieszka Holland, Scott Silver and Andrzej Wajda; costume designer Theodor Pistek and art director Ewa Braun.Probosz’s film and television career spans roles in Polish, Czech, German, French, Italian and American productions and co-productions. In the United States, he most recently guest-starred on CBS' Scorpion. He has also had guest-starring roles on ABC’s Scandal, CBS’ Numbers, NBC’s JAG and USA’s Monk. He received strong reviews from The New York Times, The Hollywood Reporter and Variety for his portrayal of Roman Polanski in the 2004 CBS miniseries Helter Skelter.From 2004-2009, Probosz portrayed the first homosexual character featured on Polish national television, Grzegorz Gorski, in the highly rated Polish drama L Like Love. In 2006, Probosz starred as the Polish WWII hero Witold Pilecki in The Death of Captain Pilecki, which garnered the Special Jury REMI Award at the 2007 WorldFest-Houston International Independent Film Festival and had screenings at consulates, universities and embassies throughout the world. In 2012, he recorded the audiobook The Auschwitz Volunteer: Beyond Bravery, about Pilecki, for Audible.com, which received an IBPA Benjamin Franklin Silver Award in 2013 and a Prose Award in 2012.Probosz is the author of two books published in Poland: The novel Eldorado (2009) and Call Me When They Kill You (2011), a collection of short stories.In 2011, Probosz was awarded the Mortui Sunt Ut Liberi Vivamus Bronze Medal in London and the Gold Medal Knight of Humanity in Auschwitz for his portrayal of Witold Pilecki and in recognition of his outstanding services in sharing Pilecki’s ideals of heroism beyond religion, race and time around the world. In Spring 2017, Probosz starred as Pilecki in a multimedia stage production of The Auschwitz Volunteer at American Jewish University and UCLA.

In a week of remembrance and recollection, Jannat Jalil explains how the French authorities - who are preparing to remember those killed in last November's Paris attacks - find other deaths on the capital's streets more than fifty years ago far more difficult to commemorate. Adam Easton in Warsaw reflects on how Poles saw their country's recent history in the life and work of one of their leading film directors, Andrzej Wajda, who died this week. Carrie Gracie in Beijing joins one of the Chinese Communist Party's new pilgrimage tours to revolutionary martyr sites from the civil war era of the twentieth century which President Xi Jinping wants party members to attend in order to rekindle ideological fervour. Robin Denselow reports on how Turkey's volatile political situation is having an effect on Islamic cooperation even at Sufi festivals, like the famous one he visited at Konya. And we remember Chris Simpson, a long-standing and distinguished contributor to "From Our Own Correspondent", who died suddenly this week. We hear again a characteristically witty and perceptive dispatch he recorded in the Central African Republic in 2010.

Director Kwame Kwei-Armah and writer Kemp Powers discuss their new production of One Night in Miami, a fictional account of the night in 1964 when boxer Cassius Clay chose to celebrate his world heavyweight victory in a hotel room with activist Malcolm X, singer Sam Cooke and football star Jim Brown. Poet, rapper and writer Kate Tempest describes her new album Let Them Eat Chaos, the follow-up to her Mercury-shortlisted album Everybody Down. It's a long poem, written for live performance, which centres on seven residents of a London street all awake at 4:48am. The Oscar-winning Polish film director Andrzej Wajda has died at the age of 90. During the war he joined the Polish resistance, and then studied to be a painter, before entering the Lodz Film School. Wajda's films chart the history of Poland through the wartime Warsaw Uprising, the suppression of the Solidarity movement, the fall of Communism and joining the EU. Ian Christie, professor of Film and Media History, looks back at the director's career.Shock and Awe: A History of Glam Rock is music journalist Simon Reynolds's new book. He charts the outrageous styles, gender-fluid sexual politics and retro-future sounds that came to define the first half of the 1970s, from Bolan to Bowie and Suzi Quatro to Roxy Music.Presenter: John Wilson Producer: Angie Nehring.

..1-Vertice Putin – Erdogan ad Istanbul. ..I due leader uniti su economia e affari ma finora divisi sulla questione siriana. ( Emanuele Valenti) ..2-Trump – Clinton: “Il dibattito più brutto di sempre”...La rassegna stampa di Esteri. ..3-Yemen, il giorno dopo il raid su un funerale. ..Sotto accusa l'Arabia Saudita e i suoi fornitori di armi. ..( Riccardo Noury Amnesty – Italia) ..4-Economia: Il Nobel 2016 assegnato a Oliver Hart e Bengt Holmstrom. “ meritano il premio per il loro contributo alla teoria dei contratti” si legge nella motivazione. ..( Intervista all'economista Andrea Fumagalli) ..5-Andrzej Wajda, una storia polacca. È morto a 90 anni il regista di cinema che raccontò le battaglie, le tragedie e le vittorie del proprio popolo. ( Marina Fabbri) ..6-Rubrica sportiva: al via i mondiali di ciclismo. Li ospita al Qatar nel mirino dei sindacati internazionali per le violazioni dei diritti dei lavoratori. ..( Dario Falcini)

During this year's annual Gen. Walter Jajko Kosciuszko Chair Military Lecture, Dr. Marek Chodakiewicz discussed the various ways in which the underground anti-communist insurgency in Poland fought against Communist forces in the wake of the Second World War, and in later years against the Nazi Germans and Soviet Communists. Dr. Chodakiewicz highlighted the response strategy used by the Communist Party, most notably the anti-insurgent communist deception and propaganda, an example of which was Andrzej Wajda's anti-Home-Army film called Ashes and Diamonds (1958). The film was screened after the professor's talk. To give historical context to the movie and reveal the true intentions behind the production of the film, which was commissioned by the Communist Party as a propaganda tool, Dr. Chodakiewicz discussed several means of propaganda used by the party. Using the words of Joseph Stalin, “The writer is the engineer of the human soul,” Dr. Chodakiewicz revealed the power of art and film and its ability to manipulate the human soul and mind when used accordingly. This event was sponsored by the Kosciuszko Chair of Polish Studies, and took place on September 25, 2015.

In the conventional narratives of Communist Poland, and Eastern Europe more generally, student activism tends to get short shrift. While the role of students in 1956 is unavoidable and widely acknowledged, after that their role and their relationship to the society at large has been minimized. The famous Kuron-Modzielewski letter of 1964 is treated first and foremost as an intra-elite affair, while the failure of the student protests in 1968 to provoke a broader movement as well as students' subsequent lack of involvement in the protests of December 1970 have been taken as evidence of students' lack of connection to broader society. Only in the late 1970s did was that gap bridged, first with founding of KOR after the strikes of 1976 and then during the Solidarity era. This account has been pervasive since the 1970s, and even people with only passing knowledge of Polish history have been exposed to it through Andrzej Wajda's 1981 film “Man of Iron.” There the student turned factory worker Maciej Birkut recounts first being told by his father the former Stakhanovite turned worker activist that 1968 is not the right time to challenge the governments and then stands by in spite during the strikes of 1970 only to learn of his father's death. Yet as so often happens when a historian take up a topic that has become so engrained that most people do not even stop to question it. In his new book Student Politics in Communist Poland: Generations of Consent and Dissent (Lexington Books, 2015), Tom Junes reveals that received narrative to be a myth that bears only partial connection to the truth. Covering the development of student politics in Poland from 1946 until the end of Communism, Junes argues that there were 8 distinct generations of students during that period, beginning with the students of the immediate postwar period whose worldview was shaped by their pre-War and War experiences to the students of the 1980s who embraced Solidarity, but felt betrayed by the roundtable negotiations that brought an end to Communist rule in 1989. It is a scrupulously researched book drawing on oral history as well as conventional primary source documents, and it was a pleasure to speak with Junes recently about his research. Learn more about your ad choices. Visit megaphone.fm/adchoices