Podcast appearances and mentions of Bernardo Bertolucci

Cinematographer Nicole Hirsch Whitaker, ASC was in the tenth grade when her English teacher screened “The Conformist” on a film print. A single scene—a car moving through trees, shot by Vittorio Storaro—changed the direction of her life. Now an Emmy-nominated cinematographer with credits spanning Netflix's record-breaking “One Piece” and the Spirit Award-nominated feature “Dust Bunny,” Nicole brings a career built on visual intelligence to Bernardo Bertolucci's 1970 psychological thriller.Andy Nelson and Pete Wright dig into Storaro's color-as-psychology approach, the fascist architecture that makes bodies feel small on screen, and the forest sequence that echoes across decades into the Coen brothers and Roger Deakins. Nicole also talks about the 3:1 aspect ratio on “Dust Bunny” and why scope is worth fighting for in a world designed for phone screens. Her word for “The Conformist”: elegant darkness.

In fairness to our hosts, this episode was recorded and delivered in the month of May. Which happens to be Martha's birthday month! In celebration, we go back to the year 1987 to take a look at some formative examples of cinema history. Turns out, 1987 was both a really good and really weird year! Homework for the episode: The Last Emperor (dir. Bernardo Bertolucci), Predator (dir. John McTiernan), The Witches of Eastwick (dir. George Miller) Join us next month for what we're calling process thrillers!

Con il nostro Boris Sollazzo commentiamo il film "Tuner" diretto da Daniel Roher con Leo Woodall, Dustin Hoffman e Havana Rose Liu e "Backrooms" diretto da Kane Parsons con Chiwetel Ejiofor, Renate Reinsve, Mark Duplass.Ospite di questa settimana a La Rosa Purpurea è la regista Shahrbanoo Sadat che ci presenta il suo film "No Good Man", con Anwar Hashimi e Torkan Omari.In occasione dei 50 anni dalla sua uscita, dedichiamo un approfondimento speciale al film "Novecento" di Bernardo Bertolucci.Con Chiara Pizzimenti, infine, commentiamo "Hen - Storia di una gallina" diretto da György Pálfi con Yannis Kokiasmenos, Maria Diakopanayotou e Argyris Pandazaras.

This film is one HUGE film ... not only in scale, commitment, and scope. But also in length. This film is extremely long ... especially if you watch the over three-and-half hour Director's Cut.  However, regardless of which version you decide to screen, you will be transported to the historical, glorious, and heartbreaking world of the final emperor of China in the early part of the 20th century. Bernardo Bertolucci's The Last Emperor is deep in meaning and rich in themes, and is exhilarating to watch as the visuals will take you to a place you have never been before. A world where you can experience through history books. It is a special film that took home the top prize at the Academy Awards almost 4 decades ago.Looking back, was it deserving of the Best Picture Oscar from all the films released in 1987?  Listen and find out what film critic Jack Ferdman thinks, and which film he chooses for his Rewatch Oscar of that year.Download, listen, and share ALL Rewatching Oscar episodes.SUBSCRIBE and FOLLOW Rewatching Oscar:Website: https://rewatchingoscar.buzzsprout.comApple Podcasts/iTunesSpotifyGoogle PodcastsiHeart RadioPodchaserPodcast AddictTuneInAlexaAmazon Overcasts Podcast Addict Player FMRSS Feed: https://feeds.buzzsprout.com/1815964.rssWebsite: https://rewatchingoscar.buzzsprout.comSocial Media Links: Facebook, Twitter, LinkedIn, Instagram, BlueSkyShare your thoughts and suggestions with us through:Facebook Messenger or email us atjack@rewatchingoscar.com or jackferdman@gmail.comMusic by TurpacShow Producer: Jack FerdmanPodcast Logo Design: Jack FerdmanMovie (audio) trailer courtesy of MovieClips Classic TrailersMovie (audio) clips courtesy of YouTubeSupport us by downloading, sharing, and giving us a 5-star Rating.  It helps our podcast continue to reach many people and make it available to share more episodes with everyone.Send us Fan Mail

Welcome to the twelfth episode of our ongoing series: Fascism On Film. Each episode of this series, the Holmes Brothers look and review a film that has to do with fascism. During the episodes, the brothers look and see how the aspects and portrayal of fascism shown in the film relate to current and/or past events.On this Fascism on Film episode, the Holmes Brothers look at and discuss the historical drama from Italian director Gillo Pontecorvo: Burn!. The film stars Marlon Brando, Renato Salvatori and Evaristo Márquez. Brando stars as a British agent provocateur called Sir William Walker who is sent to the island of Queimada, an island in the Lesser Antilles and a Portuguese colony. He is asked to overthrow the island through a slave revolt in order for the British sugar trade to profit from. Walker meets and befriends José Dolores who becomes a leader of the slave rebellion. Things turn complicated when Dolores leads a revolt against the new rulers. Brando said he did the best acting of his career on the film Burn! despite how difficult it was to make. Even though they quarrelled on set, Evaristo Márquez had to act as mediator between them, Brando said Pontecorvo was one of the three best directors he ever worked with. The other two were Elia Kazan and Bernardo Bertolucci. We hope you enjoy this episode and stay tuned for more episodes of this Fascism On Film series.Be sure to check out our Monument Valley Film on our YouTube Channel.Anders's screenwriter work can also be seen at work in the horror, car chase thriller Delivery Run, co-written with & directed by Joey Palmroos. The film has been released digitally and also in select cinemas in the US and the UK. In Finland it was released on Apple TV after finishing its limited cinema run and was the Number 1 film for multiple weeks. You can read a review about it here on the Fangoria website. The film is now available to watch in the other Nordic territories like Sweden, Oslo and of course Denmark. If you live in Denmark, you can watch the movie here on Apple TV by clicking this link.Follow us on our Instagram page. For obvious reasons, we are no longer on Twitter. You won't find us there. Perhaps we will make a BlueSky account, so keep an eye out for that.Follow our Letterboxd page where you can see what we were recommending to each other over the course of the Covid-19 Pandemic.Check out our blog and read Anders's recent review on David Lynch and Mark Frost's iconic TV show Twin Peaks. Also check us out on Letterboxd too!AndersAdam Hosted on Acast. See acast.com/privacy for more information.

Movie of the Year: 1971The Finale, Part IIThe 1971 Film Finale Podcast: One Champion RemainsThe 1971 film finale podcast brings the Taste Buds' most ambitious bracket season to its definitive conclusion. Ryan, Mike, and Greg have debated, dismissed, and championed their way through a remarkable field — and now eight films remain. In this episode, four Elite Eight matchups collapse into a single champion, and five major awards close out the season before the final verdict arrives.Furthermore, this finale caps a season that has included some of the most provocative, challenging, and enduring films ever made. From Stanley Kubrick's A Clockwork Orange to William Friedkin's The French Connection, the 1971 bracket has consistently rewarded listeners willing to sit with difficult, boundary-pushing work. The season also covered Straw Dogs, Sweet Sweetback's Baadasssss Song, and Dirty Harry — each one generating strong arguments before falling short of the Elite Eight.Additionally, five competitive award categories — Best Sex, Best Violence, Musical Moment, Best Actor, and Best Actress — draw nominees from across the full season. Consequently, this episode stands as the richest and most content-dense installment of the year.ContentsThe Elite Eight MatchupsThe 1971 AwardsWhy the 1971 Film Finale Podcast Still MattersRelated EpisodesFAQThe Elite Eight MatchupsEight films enter. One leaves as the 1971 champion. The Taste Buds structured the Elite Eight around four head-to-head matchups, and each one forces a different kind of critical argument.A Clockwork Orange vs. The DevilsTwo of the year's most transgressive films meet in the first matchup. A Clockwork Orange arrived as a season-long frontrunner — a Kubrick film operating at the height of his formal powers, one that the Taste Buds covered in depth on their dedicated episode. Ken Russell's The Devils, meanwhile, delivers a fever dream of religious hysteria and state violence that stands as one of the most divisive films the Taste Buds have discussed all season. Moreover, this matchup poses a pointed question: which film earns its provocation more honestly? Both demand something from the viewer. However, only one advances.Harold and Maude vs. McCabe and Mrs. MillerHarold and Maude represents the season's most warmly beloved film — a dark comedy about love, death, and radical living that generated some of the most enthusiastic podcast discussion of the year. By contrast, Robert Altman's McCabe and Mrs. Miller offers a revisionist Western suffused with melancholy and moral exhaustion, its beauty inseparable from its grief. Both films carry passionate advocates among the Taste Buds. Consequently, this matchup ranks among the tightest and most personal bracket debates of the entire season. Above all, it asks whether warmth or ache makes the stronger lasting impression.Wanda vs. The ConformistBarbara Loden's Wanda — a micro-budget American independent masterwork — faces Bernardo Bertolucci's The Conformist, a visually ravishing Italian political drama. Notably, both films center on characters adrift in systems designed to diminish them. Nevertheless, they arrive at very different emotional endpoints: Wanda drifts, the Conformist spirals. The Taste Buds' arguments in this matchup reveal as much about their own critical values as about the films themselves. In practice, this is the bracket's most purely cinephile debate.The French Connection vs. The Last Picture ShowThe bracket's most commercially dominant film — The French Connection, winner of five Academy Awards including Best Picture — faces Peter Bogdanovich's elegiac The Last Picture Show. In practice, this matchup pits Hollywood's muscular genre filmmaking against its more introspective New Wave ambitions. As a result, the debate cuts to the heart of what 1971 cinema actually achieved. Gene Hackman's Popeye Doyle and the dusty streets of Anarene, Texas, represent two entirely different ideas of what a great film should do — and the Taste Buds have strong opinions on which idea wins.The 1971 AwardsBefore the bracket champion is named, the Taste Buds present five awards covering the full sweep of the season. This Movie of the Year 1971 podcast segment features each host nominating the moments they found most memorable, daring, or essential — and the resulting field spans an extraordinary range of films and tones.Best SexThe nominees range from the tender to the violent to the surreal, drawing from three different films and three distinct registers of human sexuality.Jacy and Abilene — The Last Picture ShowThe Pool Party — The Last Picture ShowThe Rape of Christ — The DevilsThe Sex Duel with the Biker Gang — Sweet Sweetback's Baadasssss SongYoung Sweetback and the Sex Worker — Sweet Sweetback's Baadasssss SongBest ViolenceThe nominees span the full tonal range of 1971 action filmmaking — from Dirty Harry's iconic bank robbery standoff to the slow, aching finality of McCabe dying alone in the snow.The Car Chase — The French ConnectionHarry Foils a Bank Robbery — Dirty HarryThe Kid Kills the Cowboy — McCabe and Mrs. MillerThe Ludovico Technique — A Clockwork OrangeMcCabe Dies Alone in the Snow — McCabe and Mrs. MillerMusical MomentThe nominees here demonstrate just how varied 1971's soundtrack was — Cat Stevens, Beethoven, and Gene Wilder all make the shortlist.Maude Sings "If You Want to Sing Out, Sing Out" — Harold and MaudeOpening Funeral March — A Clockwork Orange"Pure Imagination" — Willy Wonka and the Chocolate Factory"Singin' in the Rain" — A Clockwork OrangeThe Tango — The ConformistBest Actor The five nominees represent the full range of 1971 male performance — from Hackman's coiled rage to Wilder's heartbreaking wonder. Additionally, this category generated some of the most contested debates in the entire 1971 film podcast season.Warren Beatty — McCabe and Mrs. MillerGene Hackman — The French ConnectionOliver Reed — The DevilsJean-Louis Trintignant — The ConformistGene Wilder —

Movie of the Year: 1971The Finale, Part IIThe 1971 Film Bracket Podcast Reaches the Elite EightThis 1971 film bracket podcast returns with its most dramatic episode yet. Ryan, Mike, and Greg — the Taste Buds — work through the bottom half of the Sweet 16, producing four matchups that nobody saw coming. Furthermore, the episode hands out two major awards: Comedic Performance and Biggest Shithead. The results set the stage for Part III, where the Elite Eight will be whittled down to a single 1971 champion.If you missed Part I of the finale, start there first. The bracket has been full of upsets throughout the season. Consequently, no outcome here should be taken for granted.The Sweet 16: Bottom Half of the 1971 Film BracketThe bottom half of the 1971 Sweet 16 is stacked. These four matchups pit some of the most beloved and argued-over films in the entire bracket against one another. Moreover, the range of cinema on display — from Hollywood blockbusters to European art films to New Hollywood grit — illustrates exactly why 1971 is one of the most fertile film years ever put to a bracket.The Taste Buds debate each matchup using their standard evaluative framework: craft, cultural impact, rewatchability, and gut feeling. Above all, they trust their instincts — and their instincts have produced surprises at every turn this season. Tune in to find out which four films advance to the Elite Eight.Willy Wonka and the Chocolate Factory vs. WandaThis matchup pits one of cinema's most beloved fantasies against one of its most criminally underseen gems. Willy Wonka and the Chocolate Factory needs little introduction — Gene Wilder's performance alone has kept it in the cultural conversation for over fifty years. Nevertheless, Wanda is no pushover. Barbara Loden's Wanda (1971) is a raw, naturalistic landmark of American independent cinema, and its inclusion in the bracket has been a point of pride for whoever seeded it.This is a clash of tone, scale, and intention. One film is a spectacle engineered for maximum delight. The other strips cinema down to its bones. However, the Taste Buds must pick one — and the pick will tell you something about where their tastes landed by the time the 1971 season reached its final stretch.The French Connection vs. Brian's SongTwo films that defined what mainstream American cinema could do with raw emotional and procedural intensity. The French Connection won the Academy Award for Best Picture in 1971. It features one of the most celebrated car chases in film history and a career-defining performance from Gene Hackman as the relentless, morally compromised Popeye Doyle. Additionally, William Friedkin's direction remains a masterclass in gritty, kinetic storytelling.Brian's Song, meanwhile, hit American living rooms as a TV movie and destroyed everyone who watched it. The story of Gale Sayers and Brian Piccolo remains one of the most emotionally devastating sports films ever made. Notably, the Taste Buds covered both films earlier this season — so this rematch in the 1971 film bracket carries the weight of all those prior arguments.The Last Picture Show vs. KluteTwo of New Hollywood's most enduring films square off here, and neither one will go quietly. The Last Picture Show is Peter Bogdanovich's elegiac black-and-white portrait of a dying Texas town — a film the American Film Institute has called one of the greatest ever made. Furthermore, its ensemble cast, including Jeff Bridges, Cybill Shepherd, Cloris Leachman, and Ben Johnson, delivers some of the finest performances in the bracket.Klute, however, has Jane Fonda. Her performance as Bree Daniels earned her the first of her two Academy Awards, and it remains one of the most psychologically intricate portrayals of a woman in crisis in American cinema. Alan J. Pakula's direction is coiled and paranoid in all the right ways. Consequently, this matchup may be the most difficult call in the entire bracket.The Conformist vs. The Panic in Needle ParkThe final Sweet 16 matchup is the most arthouse of the four — and arguably the most fascinating. Bernardo Bertolucci's The Conformist is a landmark of European cinema. Vittorio Storaro's cinematography is among the most studied in film school history, and the film's meditation on fascism, identity, and moral cowardice has only grown richer with time. You can read more about the film at Roger Ebert's review on RogerEbert.com.The Panic in Needle Park, by contrast, is bracingly American — a gritty, unglamorous portrait of heroin addiction on the streets of New York. It introduced Al Pacino to mainstream audiences. Moreover, Jerry Schatzberg's unflinching direction makes the film feel almost documentary in its honesty. These two films represent opposite ends of world cinema in 1971, and the Taste Buds must choose one.Award: Best Comedic Performance — 1971 Film Bracket PodcastThe Taste Buds hand out individual performance awards throughout the season, and the Comedic Performance category drew a fascinating and eclectic field of nominees. The 1971 bracket is not short on laughs — from the anarchic fantasy of Willy Wonka's chocolate factory to the dark comedy of Harold and Maude. Furthermore, the nominees represent a range of comic registers, from broad physical performance to pitch-black wit.The nominees are:David Battley — Willy Wonka and the Chocolate Factory (Mike's pick)Julie Dawn Cole — Willy Wonka and the Chocolate Factory (Greg's pick)Bud Cort — Harold and Maude (Mike's pick)Michael Gothard — The Devils (Ryan's pick)Gene Wilder — Willy Wonka and the Chocolate Factory (Greg's pick)David Battley's turn as the hapless Mr. Turkentine in Willy Wonka is a masterwork of bewildered reaction comedy. Julie Dawn Cole's Veruca Salt is a full-throttle comic creation — spoiled, relentless, and somehow sympathetic. Additionally, Bud Cort's Harold is a genuinely difficult comic achievement: deadpan to the point of catatonia, yet somehow enormously warm.Michael Gothard's Father Barre in The Devils is Ryan's wild-card choice — a performance of manic, committed intensity that functions as dark comedy whether or not Ken Russell intended it. Meanwhile, Gene Wilder's Willy Wonka remains one of cinema's great comic performances — menacing, whimsical, and deeply strange all at once. The winner is waiting for you in the episode.Award: Biggest Shithead of 1971One of the Taste Buds' most beloved recurring awards, the Biggest Shithead category recognizes the most memorably awful person — or entity — in the bracket. Notably, this award rewards commitment. Nominees do not simply do bad things. They do bad things with style, conviction, and a complete lack of self-awareness.The nominees are:Baron de Laubardemont — The Devils (Greg's pick)The Lady at Snakearama — Duel (Ryan's pick)The Motorcycle Cop — Harold and Maude (Greg's pick)Mr. Deltoid — A Clockwork Orange (Mike's pick)Veruca Salt — Willy Wonka and the Chocolate Factory (Mike's pick)Baron de Laubardemont, the cold bureaucratic villain of The Devils, brings state-sanctioned cruelty to the category. The Lady at Snakearama from Duel is Ryan's inspired choice — a brief but indelible portrait of someone who simply should not be in this movie. Furthermore, Harold and Maude's Motorcycle Cop is a monument to institutional pettiness.Mr. Deltoid from A Clockwork Orange is a sweaty, oleaginous masterpiece of ineffectual authority — Mike's nomination is well-argued. Veruca Salt, however, may be the category's most pure entry: a child who has elevated wanting things to an art form. The winner, as always, is in the episode.Why This 1971 Film Bracket Podcast Still MattersThe Sweet 16 is where bracket tournaments reveal their true character. By this stage, the obvious candidates are mostly gone. What remains are the films that survived not on reputation alone but on genuine argument. Moreover, the bottom half of the 1971 Sweet 16 contains some of the season's most debated films — which means every matchup result carries real emotional weight.The year 1971 is one of the most remarkable in cinema history. New Hollywood was hitting its stride. European art cinema was pushing form to its limits. Genre filmmaking was getting stranger, darker, and more personal. Consequently, any bracket drawn from this year produces matchups that feel genuinely impossible to call. The Taste Buds do not pretend otherwise — they argue, they agonize, and they vote.Part III is coming. The Elite Eight will determine the Movie of the Year: 1971 champion. Above all, this episode is the last chance to see which films survive before the final reckoning. Subscribe to PopFilter and follow along — the 1971 film...

La prima parte della trasmissione è dedicata all'attualità. Inizieremo con una discussione sul rapporto annuale di Amnesty International, che critica duramente i leader di Israele, Russia e Stati Uniti, ritenendoli responsabili dell'erosione dei diritti umani a livello globale. L'argomento successivo riguarda la situazione energetica della Cina alla luce della crisi energetica mondiale causata dalla guerra in Iran. Sembra che la Cina si trovi in una posizione molto più favorevole rispetto ad altri Paesi. La nostra rubrica scientifica è dedicata a uno studio secondo cui l'uso dell'intelligenza artificiale per compiti cognitivi di base può ridurre le capacità intellettuali di una persona in soli 10 minuti. E per concludere la prima parte della trasmissione, parleremo di come un'ondata di immagini e meme generati dall'IA che raffigurano Donald Trump come un'icona culturale, sia diventata un tratto distintivo della sua presenza online e della sua strategia politica.   La seconda parte di questa puntata è dedicata alla lingua e alla cultura italiana. L'argomento grammaticale di oggi è The indefinite adjectives: nessuno and tutto Ne troverete diversi esempi nel dialogo dedicato alla notizia dell'acquisto, da parte del Comune di Riccione, in Emilia-Romagna, di quella che fu la residenza estiva del dittatore italiano Benito Mussolini. Una decisione che ha acceso un ampio dibattito tra memoria storica, uso pubblico degli spazi e valore simbolico dei luoghi. Nel finale ci soffermeremo sull'espressione idiomatica di oggi: Fare di tutta l'erba un fascio. La ritroverete nel dialogo dedicato alla mostra allestita al Palazzo del Governatore di Parma per il cinquantesimo anniversario dell'uscita di Novecento, l'epico film del regista italiano Bernardo Bertolucci, spesso considerato uno dei grandi kolossal del cinema europeo. - Amnesty International condanna i leader di Stati Uniti, Israele e Russia - La crisi petrolifera globale mette alla prova la politica energetica verde a lungo termine della Cina - Affidarsi all'IA può portare a un declino cognitivo - I meme che ritraggono Trump nei panni di Gesù o del Papa segnano l'inizio di una nuova era nella politica? - Riccione e la sfida della memoria: il caso Villa Mussolini - Parma celebra con una mostra i 50 anni di Novecento di Bertolucci

[01: 27] Joyce Roodnat over Bernardo Bertolucci [51:00] Wat Blijft Lijn: Bruggenbouwer Gerrit van Aalst [57:04] Botte Jellema over Jane Goodall

When the White House posts a montage of Hollywood blockbusters cut against US drone strikes on Iran, it raises a question Italian cinema has spent seventy years wrestling with: can cinema ever truly resist power — or does it always end up serving it?In this episode, hosts Hugo Emmerzael and Elliot Bloom take Bernardo Bertolucci's newly restored masterpiece Il Conformista (1970) as their guide. Moving through Liliana Cavani's The Night Porter and Pier Paolo Pasolini's Salò, they trace how a generation of Italian filmmakers tried to dismantle the seduction of fascism by inhabiting its aesthetics — and ask what that tradition tells us about cinema's role in manufacturing national myths in 2026.Fill out our ⁠⁠survey⁠⁠ and win up to €100 worth of prizes. Get tickets to Il Conformista @ LAB111 Get tickets to Kiki's Delivery Service (4K Restoration) @ LAB111Get tickets to International Cinema: Amrum @ LAB111Get tickets to HUMP! Film Festival – Spring Lineup @ LAB111Follow us on LetterboxdFilms discussed: Il Conformista (1970), The Night Porter (1974), Salò, or the 120 Days of Sodom (1975)

‘Then they monetize it…’ What happens when quality brands lovingly crafted are then acquired by private equity and venture capital? How has golf changed in recent decades – and beyond – and how might that related to our broader society? And, might Mitzi have an opportunity to meet John Daly? All this and more on today’s Mondays with Mitzi! edition of Road Warrior Radio. Links Discussed Why Mrs. Meyer’s Clean Day Founder Sold Business, Retired Early – Business Insider John Daly (golfer) – Wikipedia Caddyshack – Wikipedia Let’s talk about Erik van Rooyen’s jogger pants at the 2019 British Open Championship Mac Sinise – Shenandoah – YouTube Oh Shenandoah – Wikipedia What Scottie Scheffler told Lee Trevino as a child which has now come true Grammarly: Free AI Writing Assistance Saint Patrick’s Day – Wikipedia On This Day March 2026 Calendar of Public Holidays | Office Holidays Holidays Today and Upcoming Holidays in the United States What day is it today? Important events every day ad-free | United States On This Day – What Happened on March 16 Today in History: March 16, the My Lai massacre in Vietnam | AP News What Happened on March 16 – On This Day What Happened on March 16 | HISTORY March 16 – Wikipedia What Happened On March 16 In History? 16 | March | 2020 | Executed Today Holidays St. Patrick’s Day (tomorrow, Tue, Mar 17) Historical Events 2016 – President Barack Obama nominated Merrick Garland to take the seat of Supreme Court Justice Antonin Scalia, who had died the previous month. Republicans who controlled the Senate would stick to their pledge to leave the seat empty until after the presidential election; they confirmed Trump nominee Neil Gorsuch in April 2017. 2005 – Actor Robert Blake acquitted: After a three-month-long criminal trial in Los Angeles Superior Court, a jury acquits Robert Blake, star of the 1970s television detective show “Baretta,” of the murder of his 44-year-old wife, Bonny Lee Bakley. 2003 – 23-year-old peace activist Rachel Corrie is crushed to death in Rafah, run over by an Israel Defense Forces bulldozer while trying to obstruct the demolition of a home. 1995 – Mississippi formally ratifies the Thirteenth Amendment to the United States Constitution, becoming the last state to do so. The Thirteenth Amendment was officially ratified in 1865. 1994 – Figure skater Tonya Harding pleaded guilty in Portland, Oregon, to conspiracy to hinder prosecution for covering up an attack on rival Nancy Kerrigan, avoiding jail but drawing a $100,000 fine and three years of probation. 1988 – Iran–Contra affair: Lieutenant Colonel Oliver North and Vice Admiral John Poindexter are indicted on charges of conspiracy to defraud the United States. 1968 – Sen. Robert F. Kennedy of New York announced his candidacy for the Democratic presidential nomination. 1968 – General Motors produces its 100 millionth automobile, an Oldsmobile Toronado 1958 – The Ford Motor Company produced its 50 millionth automobile, the Thunderbird, averaging almost a million cars a year since the company's founding. 1903 – Judge Roy Bean dies: Self-proclaimed “law west of the Pecos,” Roy Bean dies in Langtry, Texas. A saloonkeeper and adventurer, Bean's claim to fame rested on the often humorous and sometimes-bizarre rulings he meted out as a justice of the peace in western Texas during the late 19th century. By then, Bean was in his 50s and had already lived a life full of rough adventures. 1867 – Joseph Lister first outlines the discovery of antiseptic surgery in an article in “The Lancet” 1850 – “The Scarlet Letter” is published: Nathaniel Hawthorne's story of adultery and betrayal in colonial America, The Scarlet Letter, is published. 1802 – President Thomas Jefferson signed a measure authorizing the establishment of the United States Military Academy at West Point, New York. 37 – Caligula became Roman Emperor after the death of his great uncle, Tiberius. Births 1965 – Mark Carney, Canadian economist and politician, Prime Minister of Canada 1959 – Flavor Flav (William Jonathan Drayton Jr.), Hip-hop artist and reality TV star who co-founded the rap group Public Enemy. Made oversize clock necklaces a fashion statement. 1953 – Richard Stallman, American computer scientist and programmer, launched the GNU Project (Sep 1983), founded the Free Software Foundation (FSF) in October 1985, developed the GNU C Compiler and GNU Emacs, and wrote all versions of the GNU General Public License. 1941 – Bernardo Bertolucci, Italian director and screenwriter (died 2018) 1926 – Jerry Lewis, American actor and comedian (died 2017) 1912 – Pat Nixon, First lady who joined her husband on historic trips to China and the Soviet Union and advocated for volunteerism. (died 1993) 1911 – Josef Mengele, German physician, captain and mass-murderer (died 1979) 1751 – James Madison, drafter of the Constitution, recorder of the Constitutional Convention, author of the Federalist Papers and fourth president of the United States, is born on a plantation in Virginia. At just 5‘4”, James Madison was hardly a commanding presence, but that didn’t stop him from shaping American history. Madison first distinguished himself as a student at the College of New Jersey (now Princeton University), where he successfully completed a four-year course of study in two years and, in 1769, helped found the American Whig Society, the second literary and debate society at Princeton (and the world), to rival the previously established Cliosophic Society. (died 1836) Learn more Deaths 1985 – Roger Sessions, American composer, critic, and educator (born 1896) 1975 – T-Bone Walker (Aaron Thibeaux “T-Bone” Walker), American singer-songwriter and guitarist (born 1910) 1971 – Thomas E. Dewey, American lawyer and politician, 47th Governor of New York (born 1902) 1963 – William Beveridge, British economist and Liberal politician who was a progressive, social reformer, and eugenicist who played a central role in designing the British welfare state. (born 1879) 1903 – Roy Bean, self-proclaimed “law west of the Pecos” (born 1825)

Citações e trechos do livro “Living is Dying”, de Dzongsar Jamyang Khyentse.Dzongsar Jamyang Khyentse Rinpoche ou Thubten Chökyi Gyamtso, é um grande mestre da linhagem Nyingma do budismo tibetano, cineasta e escritor.Nascido em 1961, em Khenpajong (leste do Butão), é o filho mais velho de Thinley Norbu.Aos sete anos, foi reconhecido por Sua Santidade Sakya Trizin como a principal encarnação de Dzongsar Jamyang Khyentse Chökyi Lodrö, o herdeiro espiritual de uma das mais influentes e admiradas encarnações de Manjushri (o Buda da Sabedoria).Até a idade de doze anos, Dzongsar estudou no Mosteiro do Palácio do Rei de Sikkim no nordeste da Índia, onde estudou com vários mestres contemporâneos influentes como Dudjom Rinpoche, Dalai Lama e Dilgo Khyentse que considera ser seu principal mestre. Ainda adolescente, Dzongsar construiu um pequeno centro de retiro em Ghezing em Sikkim e logo começou a viajar e ensinar pelo mundo.Em 1989, Dzongsar fundou a Siddhartha's Intent, uma associação budista internacional de centros sem fins lucrativos, a maioria das quais são sociedades e instituições de caridade, com a intenção principal de preservar os ensinamentos budistas, bem como aumentar a conscientização e a compreensão dos muitos aspectos do ensinamento budista além dos limites das culturas e tradições.Como cineasta, Dzongsar estudou com o italiano Bernardo Bertolucci; e seus dois filmes principais são “A Copa” (1999) e “Traveller e Magicians” (2003).Dzongsar Rinpoche é famoso pela liberdade descontraída com que se move entre culturas e povos e por sua dedicação incansável em trazer a filosofia e o caminho da iluminação para qualquer pessoa com um coração aberto.

durée : 00:44:49 - La 20e heure - par : Eva Bester - Le comédien et réalisateur Louis Garrel qui s'est fait connaître du grand public dans "Innocents" de Bernardo Bertolucci en 2003, est à l'affiche au coté d'Angellina Jolie, du film "Coutures" d'Alice Winocour, film qui offre une plongée dans l'effervescence de la mode parisienne. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Discussing the 1972 Bernardo Bertolucci film Last Tango in Paris with Kenney Dorcely, brought to us by White Male Yoko Ono as part of the brand new Kenney Tier. Hosted on Acast. See acast.com/privacy for more information.

It's Awards Season yet again. Here on the Holmes Movies Podcast that means, it is time for the Alternative Oscars episodes! AKA the Anders and Adam-emy Awards: Each episode for this series we pick a different year in Oscars history and attempt to correct the record, stripping the undeserving of their garlands while recognising those who were cruelly overlooked.This time, we will be casting our eye back to… the 60th Academy Awards, the year that honoured the best films of 1987 (the year Adam was born). It was held April 11th 1988 at the Shrine Auditorium in Los Angeles, California. It was hosted by Chevy Chase. Bernardo Bertolucci's film The Last Emperor won big that night. The film won all nine awards it was nominated for, including Best Picture and Best Director. It was the year Sean Connery won Best Supporting Actor for The Untouchables. Cher and Olympia Dukakis went home with Oscars for the Norman Jewison film Moonstruck. Michael Douglas proved that Greed is Good and won for Oliver Stone's Wall Street in the Best Actor category. But did they deserve these awards? Tune in and listen to this episode to find out how we would have done things differently. Be sure to check out our Monument Valley Film on our YouTube Channel.Anders's screenwriter work can also be seen at work in the horror, car chase thriller Delivery Run, co-written with & directed by Joey Palmroos. The film has been released digitally and also in select cinemas in the US and the UK. In Finland it was released on Apple TV after finishing its limited cinema run and was the Number 1 film for multiple weeks. You can read a review about it here on the Fangoria website. The film is now available to watch in the other Nordic territories like Sweden, Oslo and of course Denmark. If you live in Denmark, you can watch the movie here on Apple TV by clicking this link. Follow us on our Instagram page. For obvious reasons, we are no longer on Twitter. You won't find us there. Perhaps we will make a BlueSky account, so keep an eye out for that.Follow our Letterboxd page where you can see what we were recommending to each other over the course of the Covid-19 Pandemic.Check out our blog and read Anders's recent review on David Lynch's brilliant film Mulholland Drive. Also check us out on Letterboxd too!AndersAdam Hosted on Acast. See acast.com/privacy for more information.

80 anni fa nasceva David Lynch e oggi lo celebriamo con il film cult che vede nei panni dei due ribelli protagonisti Nicolas Cage e Laura Dern: un road movie fatto di amore e di violenza, vincitore della Palma d'Oro al Festival del Cinema di Cannes grazie alla giuria presieduta da Bernardo Bertolucci. Le musiche sono firmate da Angelo Badalamenti, autore anche della colonna sonora di Twin Peaks.See omnystudio.com/listener for privacy information.

Trechos do livro “What Makes You Not a Buddhist”, de Dzongsar Jamyang Khyentse.Dzongsar Jamyang Khyentse Rinpoche ou Thubten Chökyi Gyamtso, é um grande mestre da linhagem Nyingma do budismo tibetano, cineasta e escritor.Nascido em 1961, em Khenpajong (leste do Butão), é o filho mais velho de Thinley Norbu.Aos sete anos, foi reconhecido por Sua Santidade Sakya Trizin como a principal encarnação de Dzongsar Jamyang Khyentse Chökyi Lodrö, o herdeiro espiritual de uma das mais influentes e admiradas encarnações de Manjushri (o Buda da Sabedoria).Até a idade de doze anos, Dzongsar estudou no Mosteiro do Palácio do Rei de Sikkim no nordeste da Índia, onde estudou com vários mestres contemporâneos influentes como Dudjom Rinpoche, Dalai Lama e Dilgo Khyentse que considera ser seu principal mestre. Ainda adolescente, Dzongsar construiu um pequeno centro de retiro em Ghezing em Sikkim e logo começou a viajar e ensinar pelo mundo.Em 1989, Dzongsar fundou a Siddhartha's Intent, uma associação budista internacional de centros sem fins lucrativos, a maioria das quais são sociedades e instituições de caridade, com a intenção principal de preservar os ensinamentos budistas, bem como aumentar a conscientização e a compreensão dos muitos aspectos do ensinamento budista além dos limites das culturas e tradições.Como cineasta, Dzongsar estudou com o italiano Bernardo Bertolucci; e seus dois filmes principais são “A Copa” (1999) e “Traveller e Magicians” (2003).Dzongsar Rinpoche é famoso pela liberdade descontraída com que se move entre culturas e povos e por sua dedicação incansável em trazer a filosofia e o caminho da iluminação para qualquer pessoa com um coração aberto.

Je málo režisérů, kteří natočili tak rozdílené snímky, jako Bernardo Bertolucci. Šokoval svět, když kina ovládl jeho erotický film s Marlonem Brandem Poslední tango v Paříži. Svoje kvality prokázal snímkem Poslední císař, kde řídil 19 000 komparsistů. Kvůli natáčení se přestěhoval do Číny, aby nasál atmosféru. Díky tomu mohl jako jediný západní filmař natáčet v Zakázaném městě. Výsledný film získal devět Oscarů včetně toho za režii. Zemřel 26. listopadu 2018.

L'infanzia negli anni Ottanta passata davanti alla tv a guardare i cartoni animati giapponesi, il rapporto con un padre giornalista sempre in viaggio, il primo folgorante incontro con la sceneggiatura in una scuola di «suorine»: Ludovica Rampoldi ripercorre il filo che lega la sua vita al cinema. In questa intervista a Malcom Pagani, Rampoldi racconta i «disastri» durante le riprese de “Le conseguenze dell'amore” e l'approdo alla regia, gli incontri che segnano un percorso, da Paolo Sorrentino a Bernardo Bertolucci, fino ad un televisivo pranzo a Palazzo Grazioli con Silvio Berlusconi. Riflette poi sulle trasformazioni della serialità e sui limiti nuovi della comicità e spiega per lei chi è davvero uno sceneggiatore: «Uno che ha un punto di vista». Learn more about your ad choices. Visit megaphone.fm/adchoices

Movie of the Year: 1971The ConformistRevisiting The Conformist (1971) – Power and Identity in Italian CinemaIn this episode of Movie of the Year, Ryan, Greg, and Nate take on Bernardo Bertolucci's The Conformist (1971), a visual and psychological masterpiece that defined the aesthetics of 1970s cinema. Through its haunting beauty and moral ambiguity, The Conformist examines how a man's need to belong leads him down a path of destruction.As the Taste Buds explore, Bertolucci's film is more than a political allegory—it's an intimate portrait of repression, desire, and the fragile nature of identity.Bertolucci's The Conformist and the Politics of StyleFew filmmakers balance ideology and artistry as masterfully as Bernardo Bertolucci. The Taste Buds discuss how his direction turns politics into visual poetry, using color, shadow, and architecture to mirror the internal lives of his characters.Cinematographer Vittorio Storaro creates a world of geometric perfection and emotional chaos, where fascist Italy becomes both stage and metaphor. Every shot in The Conformist (1971) is deliberate—an expression of control, guilt, and the terror of individual thought in a conformist world.(Learn more about Bertolucci's visual approach on Criterion's Bertolucci essay.)Marcello Clerici: The Psychology of FascismAt the center of The Conformist is Marcello Clerici, portrayed by Jean-Louis Trintignant with quiet dread. Marcello longs to fit in, to appear normal, to bury the parts of himself that don't conform. His fear of difference drives him toward fascism—not out of conviction, but out of insecurity.Ryan, Greg, and Nate explore how Marcello's repression and guilt become political acts. His story reveals how ordinary people become instruments of ideology—not through belief, but through cowardice and the seductive comfort of belonging.Anna and Giulia: Women, Desire, and RebellionThe women of The Conformist (1971)—Anna (Dominique Sanda) and Giulia (Stefania Sandrelli)—represent opposing forces in Marcello's life and Italy's cultural psyche. Anna is sharp, enigmatic, and politically aware—a woman whose defiance threatens to unravel Marcello's carefully constructed identity. Giulia is complacent, beautiful, and submissive, embodying the illusion of safety and control.The Taste Buds analyze how Bertolucci frames both women as agents of desire and symbols of rebellion, showing that even within oppressive systems, resistance can take many forms—some loud, others quietly devastating.Guest Spotlight: Nate Ragolia from Debut BuddiesThis episode features special guest Nate Ragolia, co-host of the hit podcast Debut Buddies. Known for celebrating pop-culture firsts—from debut albums to first films—Nate brings his trademark blend of insight and humor to The Conformist (1971). His deep appreciation for cinema's evolution adds a new dimension to the discussion, connecting Bertolucci's exploration of identity and conformity to the creative risks artists still face today.

Today we're joined by filmmaker/author Steven Bernstein for our tribute to intimacy coordinators, none of whom were present for these films. These painfully raw relationship dramas courted controversy not just for their explicit sex scenes, but also for the conditions under which they were shot: Bernardo Bertolucci's 1972 erotic drama LAST TANGO IN PARIS, and Abdellatif Kesheesh's 2013 Palme d'Or winner BLUE IS THE WARMEST COLOR. You can find Steven's new novel GRQ at: https://a.co/d/7CihqRxhttps://a.co/d/7CihqRxUnwatchables is hosted by Marc Dottavio and Seth Troyer, produced by Tony Scarpitti, featuring artwork by Micah Kraus. Unwatchables Patreon: ⁠⁠⁠⁠⁠⁠https://www.patreon.com/unwatchables⁠⁠⁠⁠⁠⁠ Instagram: ⁠⁠⁠⁠⁠⁠https://www.instagram.com/unwatchablespod/⁠⁠⁠⁠⁠⁠Twitter: ⁠⁠⁠⁠⁠⁠https://twitter.com/UnwatchablesPod⁠⁠⁠⁠⁠⁠Website: ⁠⁠⁠⁠⁠⁠https://www.unwatchablespod.com⁠⁠⁠⁠⁠⁠ Email: unwatchablespodcast@gmail.com

Den 19-årige franske skuespillerinde Maria Schneider fik i 1972 sit gennembrud i Bernardo Bertolucci-filmen Sidste Tango i Paris sammen med megastjernen Marlon Brando. Men udover nyvunden stjernestatus fik den unge skuespillerinde også ar på sjælen, da den famøse voldtægts-scene skulle optages. En ny film fortæller historien om Maria Schneider - vi dykker ned i kvinden, scenen og filmens eftermæle. Medvirkende: Lars-Martin Sørensen, filmhistoriker og forskningsleder ved Det Danske Filminstitut; Stephanie Surrugue, international korrespondent i DR samt vært på podcasten "Stjerner og striber"; og Susanne Elmark, operasangerinde. Vært: Morten Runge Producer: Anna Correll Redaktør: Lasse Lauridsen

Cʹest un peu le film de tous les superlatifs, une sorte de Ben Hur chinois, avec des centaines de collaborateurs, un casting international, 20ʹ000 figurants, 9'000 costumes, un tournage historique au cœur de la Cité interdite à Pékin. Bernardo Bertolucci est en effet le premier occidental à pouvoir tourner dans ce palais. Ce film, cʹest le Dernier empereur,  L'ultimo imperatore, The Last Emperor, sorti en 1987. Un film dont la beauté des images ne change rien au tragique de lʹhistoire de ce dernier empereur de Chine, Pu Yi. Un homme ballotté par le destin, empereur à 3 ans, renversé par la Chine communiste, partant en exil, pour être récupéré par les Japonais et proclamé empereur fantoche du Mandchoukouo. Il est arrêté et emprisonné par les soviétique en 1945, pour être rééduqué dans une prison chinoise pendant 9 ans avant dʹêtre finalement libéré et de finir sa vie comme jardinier. Le dernier empereur de Chine meurt des suites dʹun cancer à 61 ans. Et cʹest ce destin exceptionnel que Bernardo Bertolucci porte à lʹécran avec des moyens faramineux, une reconstitution historique fascinante retraçant toute lʹhistoire de cet homme déchu, ce pantin des événements. Le réalisateur qualifie le film de cheminement de la décadence et du pourrissement dʹune dynastie jusquʹà la rééducation dʹun homme. Le film rencontre un vrai succès critique et public. Il est couronné par 9 Oscars, dont ceux des Meilleur film et Meilleur réalisateur, du César du Meilleur film étranger, de Baftas et de Donatellos. Ne tardons plus, commençons notre réflexion sur les apparences du pouvoir et la réalité de lʹimpuissance, sur les prisons dorées, sur un chatoyant théâtre dʹombre, sur cette fresque de lʹhistoire de la Chine du XXe siècle. REFERENCES Edward Behr, Pu Yi, le Dernier Empereur, Robert Lafont Pu Yi, Jʹétais empereur de Chine, biographie, traduction Jeanne-Marie Gaillard-Paquet, Jʹai Lu, 1999 Première, Le dernier empereur, un défi spectaculaire, Bertolucci raconte, décembre 1987. Fabien S. Gérard, journal de tournage : Le Dernier Empereur de Bernardo Bertolucci, Cahiers du cinéma, 1987 La voix de Pu Yi https://www.youtube.com/watch?v=lIMIWjV6Mck

A la edad de 92 años ha fallecido la actriz francesa Anouk Aimée cuya belleza sin grandes alardes le convirtió en un símbolo de la sofisticación del cine europeo. Su elegancia le llevó a la consagración internacional con “La dolce vita” (1960) de Federico Fellini pero Aimée fue mucho más que una estimulante presencia. Logró la candidatura al Oscar por “Un hombre y una mujer” (1966) de Claude Lelouch, uno de los dramas románticos que revolucionaron el mundo del cine en la década de los 60. Su papel de viuda que vuelve a encontrar el amor le consagró como una de las actrices más fascinantes, elegantes y enigmáticas de su generación rodando con otros nombres de la categoría de André Cayatte, Jacques Becker, Jacques Demy, George Cukor, Sidney Lumet, Marco Bellocchio, Bernardo Bertolucci o Jerzy Skolimowski. Este reportaje pertenece al programa "El Cine de LoQueYoTeDiga" nº 439 (15x24) y fue emitido el 29 de junio de 2024.

En películas de Pedro Almodóvar suenan canciones como 'Ne me quitte pas' en la grabación de la cantante brasileña Maysa Matarzazzo ('La ley del deseo'), 'Tonada de luna llena' por Caetano Veloso ('La flor de mi secreto') y 'Cucurrucucú paloma' también por Caetano ('Hable con ella'), 'Por toda minha vida' grabación de Elis Regina & Tom Jobim ('Hable con ella'), 'Raquel' del caboverdiano Baú ('Hable con ella') y 'Tajabone' del senegalés Ismaël Lò ('Todo sobre mi madre' ). Ryuichi Sakamoto con Everton Nelson y Jaques Morelenbaum tocando 'High heels' (de la película de Almodóvar 'Tacones lejanos'), 'The sheltering sky' (de la película de Bernardo Bertolucci 'El cielo protector') y 'Merry Xmas Mr.Lawrence' (de la película de Nagisa Oshima 'Feliz navidad Mr. Lawrence'). David Bowie canta con el Pat Metheny Group 'This is not America' en la película de John Schlessinger 'The falcon and the snowman' y el pianista Bill Evans toca en trío el tema de la película de Robert Altman M.A.S.H. Abre la orquesta de Maria Schneider ('Love theme from Spartacus' que Johnny Mandel escribió para la película de Kubrick 'Espartaco') y lo cierran el pianista Giovanni Ceccarelli, el bajista Ferruccio Spinetti y la cantante Chiara Civello ('Chanson de maxence' que Michel Legrand compuso para 'Les demoiselles de Rochefort').Escuchar audio

Vulture and New York Magazine film critic Bilge Ebiri returns to discuss Bernardo Bertolucci's stunning mood piece Little Buddha, a rich and evocative story of an American family who travel to Bhutan after learning their son may be the reincarnation of the spiritual leader of a group of Tibetan Buddhist monks. The film also chronicles chapters in the life of Siddartha (played by Keanu Reeves) who rejects his life of sheltered privilege after learning of human suffering in order to seek a path of spiritual enlightenment. Exhibiting Berolucci's customary visual richness - emboldened by breathtaking images from Academy Award-winning cinematographer Vittorio Storaro - and an otherworldly emotional frankness, Little Buddha conjures the sensation and grandeur of a personal spiritual awakening. We discuss the career of Bertolucci and his "Eastern Trilogy" beginning with 1987's Best Picture winner The Last Emperor, in which Bertolucci's fascination with the spiritual and cultural practices of the Asian continent became a personal endeavor into a deeper understanding of his own artistic ethos. Then we unpack the splendid uncannines of Little Buddha and how Bertolucci's directorial mastery allows for a film of constant settling and de-escalation to feel thrilling and proulsive through it's evocation of a preternatural emotionality. Finally, we discuss the west's fascination with the Tibetan independence movement in the 1990s and the American films it inspired during the decade.   Follow Bilge Ebiri on TwitterOrder Little Buddha on 4K or Blu-ray from Kino LorberGet access to all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.....Our theme song is "Mirror" by Chris Fish

This episode examines The Conformist, Bernardo Bertolucci's 1970 political drama set in 1930s Italy. The film centers on Marcello Clerici (Jean-Louis Trintignant), a mid-level Fascist functionary who is ordered to assassinate his former professor, an anti-fascist dissident living in Paris. The film, which includes many flashbacks to Clerici's early life and decision to join the secret police, provides powerful and chilling insights into the psychology of conformism and fascism The film, widely considered one of the greatest ever made, not only features outstanding performances but also superb production design (Fernando Scarfiotti) and cinematography (Vittorio Storaro) that helps capture Italy under Mussolini. The film is as timely today as it was when it was released, as the world witnesses a resurgence of authoritarianism in the United States and Europe.Timestamps:0:00      Introduction3:45       Fascist Italy under Mussolini7:58       Why Clerici joins the fascists12:39     Repression of sexual orientation and the desire to belong14:10      Why people are vulnerable to fascism18:56      Manganiello and the fascist enforcer23:43     Perspectives on normalcy and the scenes in Paris31:56      How the film speaks to the Trump era36:40     Architecture in Mussolini's Italy39:08     The murder of Quadri and Anna44:39     After Mussolini falls50:30     The lack of consequences for going along with fascism 56:04     The Holocaust in Mussolini's Italy      Further reading:Bosworth, R.J.B., Mussolini's Italy: Life under the Fascist Dictatorship, 1915-1945 (2006)Elbiri, Bilge, “It's Time to See ‘The Conformist' Again,” Vulture (Jan. 14, 2023)Huq, Aziz, "America Is Watching the Rise of a Dual State," The Atlantic (Mar. 23. 2025)Kael, Pauline, “‘The Conformist': The Poetry of Images,” New Yorker (Mar. 27, 1971)   Moravia, Alberto, The Conformist (1951)Musil, Robert, The Man Without Qualities (1930-43) Law on Film is created and produced by Jonathan Hafetz. Jonathan is a professor at Seton Hall Law School. He has written many books and articles about the law. He has litigated important cases to protect civil liberties and human rights while working at the ACLU and other organizations. Jonathan is a huge film buff and has been watching, studying, and talking about movies for as long as he can remember. For more information about Jonathan, here's a link to his bio: https://law.shu.edu/profiles/hafetzjo.htmlYou can contact him at jonathanhafetz@gmail.comYou can follow him on X (Twitter) @jonathanhafetz You can follow the podcast on X (Twitter) @LawOnFilmYou can follow the podcast on Instagram @lawonfilmpodcast

In episode 17 of (Pop) Cultural Marxism, Ajay and Isi once again find themselves in the regrettable position of praising the Walt Disney Company. After chatting about recent cultural highlights (Clair Obscur: Expedition 33, a 40th anniversary screening of Kurosawa's Ran, and a Criterion retrospective on Johnnie To), they consider the popular and critical success of Andor's second season, and ask what it means to describe a pop cultural text as “politically timely.” Their conversation turns to extratextual ecosystems (press junkets, interviews), Gilroy's deep engagement with cinematic depictions of fascism and rebellion (Army of Shadows, The Conformist), architecture and costume design, season 2 high points (the Ghorman Massacre, Mon Mothma's Senate speech), the politics of revolutionary alliances, and imperial bureaucracy. Finally, they consider how the show makes the transition—narratively, visually, musically—into the lore-dense timeline of Rogue One and A New Hope, and ponder its uncharacteristically fascistic final scene. (Pop) Cultural Marxism is produced by Ryan Lentini.  Learn more about upcoming courses on our website. Follow Brooklyn Institute for Social Research on Twitter / Facebook / Instagram / Bluesky Shownotes: Clair Obscur: Expedition 33 (Sandfall Interactive) Ran, dir. Akira Kurosawa (1985) Exiled, dir. Johnnie To (2006) Ghost Dog: The Way of the Samurai, dir. Jim Jarmusch (1999) Battleship Potemkin, dir. Sergei Eisenstein (1925) The Battle of Algiers, dir. Gillo Pontecorvo (1966) Army of Shadows, dir. Jean-Pierre Melville (1969) Jean-Paul Sartre, "The Republic of Silence" (1944) The Conformist, dir. Bernardo Bertolucci (1970) Sergey Nechayev, "Catechism of a Revolutionary" (1869) Laleh Khalili, "The Politics of Pleasure: Promenading on the Corniche" Guy Debord, The Society of the Spectacle Bertolt Brecht and Walter Benjamin on Brecht's "Epic Theater" McKenzie Wark, The Beach Beneath the City McKenzie Wark, A Hacker Manifesto

In 1972, Bernardo Bertolucci's Last Tango in Paris pierced the cinema landscape with its gritty and unrelenting portrayal of animalistic sex, grief, and urban malaise.Marlon Brando stars as Paul, a recent middle-aged widower who meets 20-year-old Jeanne (Maria Schneider) while looking for an apartment. The two decide to shack up for three hedonistic days, blocking out the sad concerns of the world outside. The result is a portrait of mutual and self-destruction, helmed by a director so bent on "authenticity" that he permitted an actual assault to take place on his set.This year, co-writer/director Jessica Palud brought us Being Maria, a biopic about Schneider and the aftermath of Last Tango's scandalous shoot/release, with Matt Dillon and Anamaria Vartolomei turning in commendable interpretations of the film's iconic actors.In today's episode, Ian and David examine both films and walk through the various reasons neither come close to being as memorable (or, frankly, as good) as they ought to be--outside the sensationalism inherent in the infamous "butter" scene. They also look at critic Pauline Kael's 1972 New Yorker review and how it brushes right up against contemporary social mores.Show LinksWatch the Being Maria (2025) trailer.Being Maria is now available On Demand and on Blu-ray, courtesy of Kino Lorber.Keep up with all of David Fowlie's film criticism at Keeping It Reel.As mentioned in the show, you can read critic Pauline Kael's 1972 review of Last Tango in Paris.Plus! Listen to Ian and David's other recent (and very raucous) reviews of:The Unholy Trinity (2025) A Real Pain (2025)Rebel Ridge (2024)Duchess (2024)The Old Oak (2024)What Remains (2024)

Kill Along to Get Along: Bernardo Bertolucci's The Conformist Does Life Imitate Art or Does Art Predict and Comment on Life?  Regardless of Bernardo Bertolucci's reputation - admitted questionable actions in the realization of art - the Italian filmmaker is regarded as one of the great Auteurs of Cinema. Films from 1900 (1976) thru the Oscar-winning The Last Emperor (1987), and the controversial (artistically and production-wise) Last Tango in Paris (1972), have explored the human eperience through Sexuality, Social Taboos, Class Conflict, and - in his directorial debut 1970s The Conformist, Politics. Lensed by the great Italian cinematographer Vittorio Storaro, The Conformist may have some of the most beautiful images ever captured in Cinema while telling a story of Political Ideology,  Conformity, and the rise of Fascism.  Questions rise in this 1970 film that have surprisingly presented themselves again over fifty years later. This is a difficult film in viewing, however it is incredibly important in what it has to say and how it says it. Take a listen and let us know what you think. Agree or Disagree, the Point is the Conversation. Let us know what you think - gondoramos@yahoo.com. Many Thanks.  For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards.

Was haben Alfred Hitchcock, Oliver Stone oder Bernardo Bertolucci gemeinsam: exakt - alles Meisterregisseure UND menschlich wohl ziemlich fragwürdige Gestalten. Wir schauen heute auf schlimme Geschichten von Filmsets, kaputte Egos und Übergriffe. Zum Glück haben wir auch leichte Kost an Bord: dank „Karate Kid: Legends“ kommen die 90er zurück und „Fountain of Youth“ ist so schlecht, dass David glatt 10 Jahre gealtert ist. 00:00:00 Start 00:12:20 Fountain of Youth 00:28:54 The Last of Us Season 2 00:35:37 Der Phönizische Meisterstreich 00:47:11 Fist of the Warrior 00:51:18 Karate Kid: Legends 01:12:30 Toxische Regisseure David O. Russell vs Lily Tomlin: https://www.youtube.com/watch?v=7SG43wa7Alo&t=77s Zwei Wie Pech und Schwafel Instagram: https://www.instagram.com/zweiwiepechundschwafel Alle Werbepartner und weiterführende Infos findest du hier: https://linktr.ee/zweiwiepechundschwafel

Last month, we waltzed through mid – 19th Century Italy. Today, we jump forward a half – century --- royalty continues its decline, the middle – class and powerful industrial leaders are ascendant in Europe. It's a new century and the dawn of a new, perhaps golden era. But is it? Where still a force, European royalty is having its last hurrah in controlling lands far beyond their borders through vicious policies of imperialism. A minor Prince in Germany (who calls himself the German language derivation of Caesar) is going to overstep his bounds and plunge Europe and some of the rest of the world into a butcher's shop of a conflict, known airily as WWI. As a result, the world further shunts royalty into the wastebin of history. But the desire for power, for rule over lands beyond your own borders? That remains. The eyes that lust after it, the hands that seek to grasp it, change from supposedly holy royal hands to an unholy alliance between politicians and industrial and financial might. And the world again sends its military off to slaughter one another. We saw the seeds of the downfall of royalty during the unification of Italy in Luchino Visconti's film, The Leopard. This month, we follow two men from very different backgrounds who emerge from a unified Italy. They face the fallout of WWI and the rise of cooperation between autocracy and industrial might that forms fascism. Another decorated Italian director, Bernardo Bertolucci, mounted an ambitious film to follow their path and that of Italy as a five – hour epic, 1900. The film, which debuted in 1976, not only portrayed another turning point for Italy and the world but was a significant change for Bertolucci as he moved away from a scandalous and dark part of his career. But this is just a light story travelling over decades --- nothing to teach the US and the world in 2025…Website and blog: www.thosewonderfulpeople.comIG: @thosewonderfulpeopleTwitter: @FilmsInTheDark

Welcome to The B-Side! Here we talk about movie stars! Not the movies that made them famous or kept them famous, but the ones that they made in between.  Today we talk about the great Debra Winger! Our B-Sides include Legal Eagles, Betrayed, The Sheltering Sky, and Forget Paris. Our guest is the inestimable Murtada Elfadl, Culture Writer, Critic, and Film Curator. We discuss Winger's stratospheric rise to stardom, her indescribable performance in Terms of Endearment, and her (unfair?) reputation for being “difficult.” There's also plenty of discussion about Rosanna Arquette's documentary Searching for Debra Winger, a film in which Arquette speaks with many famous actresses about aging in Hollywood. The motivation of the piece was partly motivated by Winger's exodus from the business for over half a decade in the mid-1990s. There's also conversation about Shirley MacLaine's 1984 Oscars speech, Tom Berenger being deeply proud of Betrayed and his performance in the film, and all those NBA players that appear in Forget Paris. Janet Maslin and Roger Ebert's superb reviews of Betrayed are mentioned, as is Debra's perfect laugh. Finally, we touch on when Raquel Welch sued MGM and won for being fired from Cannery Row (Winger replaced her in the role), Winger's dropping out of A League of Their Own after Madonna was cast (bonus Patti LuPone on Evita clip here!), Melanie Griffith and William Hurt being director Bernardo Bertolucci's first choices for the leads in The Sheltering Sky, and Debra Winger's infamous Watch What Happens Live episode.

Welcome to The B-Side! Here we talk about movie stars! Not the movies that made them famous or kept them famous, but the ones that they made in between. Today we talk about the great Debra Winger! Our B-Sides include Legal Eagles, Betrayed, The Sheltering Sky, and Forget Paris. Our guest is the inestimable Murtada Elfadl, Culture Writer, Critic, and Film Curator. We discuss Winger's stratospheric rise to stardom, her indescribable performance in Terms of Endearment, and her (unfair?) reputation for being “difficult.” There's also plenty of discussion about Rosanna Arquette's documentary Searching for Debra Winger, a film in which Arquette speaks with many famous actresses about aging in Hollywood. The motivation of the piece was partly motivated by Winger's exodus from the business for over half a decade in the mid-1990s. There's also conversation about Shirley MacLaine's 1984 Oscars speech, Tom Berenger being deeply proud of Betrayed and his performance in the film, and all those NBA players that appear in Forget Paris. Janet Maslin and Roger Ebert's superb reviews of Betrayed are mentioned, as is Debra's perfect laugh. Finally, we touch on when Raquel Welch sued MGM and won for being fired from Cannery Row (Winger replaced her in the role), Winger's dropping out of A League of Their Own after Madonna was cast, Melanie Griffith and William Hurt being director Bernardo Bertolucci's first choices for the leads in The Sheltering Sky, and Debra Winger's infamous Watch What Happens Live episode. Be sure to give us a follow on Bluesky at @tfsbside.bsky.social. Enjoy!

This week we're excited to present a conversation from the 20205 edition of the just-concluded Rendez-vous with French Cinema with Being Maria cast members Matt Dillon and Anamaria Vartolomei. Being Maria is now in select theaters, courtesy of Kino Lorber. Actors don't choose roles,” actor Daniel Gélin (Yvan Attal) tells his daughter Maria Schneider (Anamaria Vartolomei). “Roles choose them!” After her galvanizing performance as a young woman seeking out an illegal abortion in Audrey Diwan's Happening (ND/NF 2022), Vartolomei delivers another indelible portrait of a woman in extremis with writer-director Jessica Palud's second feature, moving beyond Schneider's encounter with director Bernardo Bertolucci on the set of Last Tango in Paris, during the shoot of the infamous “get the butter” scene (which the actress repeatedly identified as a violation of her consent), to contemplate the actress's larger life and legacy. The shoot itself is meticulously reconstructed—featuring a remarkable turn by Matt Dillon as Schneider's significantly more famous costar and scene partner, Marlon Brando—in order to contextualize the private and public fallout from Schneider's equally iconic and traumatizing breakout performance. Palud was herself an assistant director for Bertolucci at age 19 (the same age Schneider was during the production of Last Tango) and brings a welcome eye for complexity to an unsparing, compassionate reframing of a much-discussed incident—rooted firmly in the perspective of the actress at its center. This conversation was moderated by FLC Assistant Programmer Madeline Whittle.

Gay homosexuals Nick and Joseph discuss Last Tango in Paris - a 1972 erotic drama film directed by Bernardo Bertolucci, starring Marlon Brando, Maria Schneider and Jean-Pierre Léaud. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Additional topics include:North Macedonia nightclub fireWendy WilliamsJames and Randy DeBargeDawn Robinson living in her carBlack filmmakers who are not Tyler Perry: Euzhan Palcy, Adamma Ebo, Jerrod Carmichael, Cauleen Smith, and Hype WilliamsJoin us on Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/FishJellyFilmReviews⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Want to send them stuff? Fish Jelly PO Box 461752 Los Angeles, CA 90046Find merch here: https://fishjellyfilmreviews.myspreadshop.com/allVenmo @fishjellyVisit their website at www.fishjellyfilms.comFind their podcast at the following: Anchor: https://anchor.fm/fish-jelly Spotify: https://open.spotify.com/show/388hcJA50qkMsrTfu04peH Apple Podcasts: https://podcasts.apple.com/us/podcast/fish-jelly/id1564138767Find them on Instagram: Nick (@ragingbells) Joseph (@joroyolo) Fish Jelly (@fishjellyfilms)Find them on Letterboxd: https://letterboxd.com/ragingbells/ https://letterboxd.com/joroyolo/Nick and Joseph are both Tomatometer-approved critics at Rotten Tomatoes: https://www.rottentomatoes.com/critics/nicholas-bell https://www.rottentomatoes.com/critics/joseph-robinson

You can now text us anonymously to leave feedback, suggest future content or simply hurl abuse at us. We'll read out any texts we receive on the show. Click here to try it out!Welcome back to Bad Dads Film Review!This episode takes us on a journey through grand castles and mystical kingdoms as we dive into the majestic world of Top 5 Palaces, the breathtaking fantasy epic Princess Mononoke, and the delightful children's series Sofia the First.Palaces in film aren't just settings—they're symbols of power, magic, and intrigue. Whether steeped in history or conjured from fantasy, these cinematic castles and palaces have left a lasting impression on audiences.1. The Imperial Palace – The Last Emperor (1987)The Forbidden City in Beijing serves as the breathtaking backdrop for Bernardo Bertolucci's historical masterpiece. Its grandeur reflects the isolation and opulence of the young emperor's life. 2. Hogwarts – Harry Potter Series (2001-2011)A magical castle rather than a traditional palace, but let's be honest—Hogwarts is as grand and majestic as any royal residence.3. The Grand Budapest Hotel – The Grand Budapest Hotel (2014)Though fictional, its lavish design and color palette make it one of the most memorable cinematic palaces. (Ed: is it though?)4. The Castle in the Sky – Castle in the Sky (1986)Studio Ghibli's floating fortress, Laputa, is an awe-inspiring mix of magic, history, and mystery. It serves as both a relic of the past and a symbol of lost power, perfectly embodying the themes of the film.5. The Palace of Agrabah – Aladdin (1992 & 2019)Disney's shimmering golden palace, home to the Sultan and Princess Jasmine, captures the magic and adventure of the Arabian Nights. Its lavish domes and sprawling gardens make it one of the most iconic palaces in animation.Directed by Hayao Miyazaki, Princess Mononoke is an epic that blends mythology, environmental themes, and breathtaking animation into a powerful tale of conflict and coexistence.The story follows Ashitaka, a young prince cursed by a demon after defending his village. Seeking a cure, he embarks on a journey that leads him to a battle between humans, led by the ambitious Lady Eboshi, and the spirits of the forest, including the fierce warrior Princess Mononoke (San).While darker and more mature than some of Ghibli's other films, Princess Mononoke is a masterpiece that older kids and adults can appreciate for its depth and emotional weight.For younger viewers, Sofia the First offers a charming introduction to the world of princesses and magic, wrapped in fun adventures and valuable life lessons.Sofia, an ordinary girl, becomes royalty overnight when her mother marries the king. As she navigates palace life, she learns about kindness, responsibility, and courage—often with the help of magical amulets and familiar Disney princesses.From grand palaces to mystical forests, this episode celebrates the magic and wonder of cinema's most enchanting worlds. So grab your crown, saddle up your wolf, and join us for a royal adventure!

Wild at Heart. Adiós y hasta siempre David Lynch. En 1990 David Lynch presentó en el Festival de Cannes una película visionaria: Wild at Heart. Una historia de amor y muerte salpicada de referencias pop y brutalmente honesta que, como todas las películas visionarias, incomodó a más de uno, aunque a pesar de todo e impulsada por el presidente del jurado de ese año, Bernardo Bertolucci, se hizo con la Palma de Oro, el mayor premio de ese festejo. El pasado 15 de enero David Lynch falleció, dejando un hueco enorme en el mundo pero también un legado cinematográfico robusto, poderoso y sobre todo (mil gracias señor Lynch), indescifrable. El cine de Lynch es eso, indescifrable, inabarcable para las superficiales lógicas de la opinología del siglo XXI y, sobre todo, voraz contra las formas convencionales a las que peleó desde el intestino de su industria. Lynch, en persona y en obra, luchó contra el monstruo desde el interior de ese monstruo. Y probablemente Salvaje de corazón, con su rabia, su lluvia eterna de sexo, amor loco y desencanto, sea el mejor ejemplo de ello. Y si no lo es, la usaremos de pretexto para hablar del cine del genio al que siempre recordaremos como David Lynch. Para repasar el improbable y muy violento road trip que es Salvaje de corazón invitamos a este episodio al guionista y director Antón Goenechea, quien de Lynch sabe, y sabe mucho. Adiós y hasta siempre David Lynch. Learn more about your ad choices. Visit megaphone.fm/adchoices

Susan Minot is an award-winning novelist, short-story writer, poet, playwright, and screenwriter. She also paints watercolors and makes collages. She was born in Boston and grew up in Manchester-by-the-sea, Massachusetts, with six siblings who are all artists. Her first novel was Monkeys, published in 1986. She wrote the screenplay for Bernardo Bertolucci's “Stealing Beauty” (1995.) Her novel Evening, nominated for the Los Angeles Times Book Award, was a worldwide bestseller and became a major motion picture in 2007. Her stories have received O. Henry Awards and have been anthologized widely, including The Best American Short Stories. Her eighth book, a collection of stories, Why I Don't Write, was published in 2020. Her daughter, Ava, was born in 2001. She teaches in the graduate writing program at Stony Brook University and privately at her kitchen table. She lives in both New York City and on North Haven, an island off the coast of Maine. Her new book is Don't Be a Stranger, and is the focus of today's show.  Susan joins Barbara DeMarco-Barrett to discuss naming characters, the hubbub that surrounds September to May trysts, Lolita, epigraphs, the conflict between motherhood and desire, structure, book covers, and more. For more information on Writers on Writing and extra writing perks, visit our Patreon page. For a one-time donation, visit Ko-fi. To listen to past interviews, visit our website. Support the show by buying books at our bookstore on bookshop.org. We've stocked it with titles from our guests, as well as some of our personal favorites. You support independent bookstores and our show when you purchase books through the store. And on Spotify, you'll find to an album's worth of typewriter music like what you hear on the show. Look for the artist, Just My Type. Email the show at writersonwritingpodcast@gmail.com. We love to hear from our listeners. (Recorded on November 12, 2024)  Host: Barbara DeMarco-BarrettHost: Marrie StoneMusic and sound editing: Travis Barrett (Stream his music on Spotify, Apple Music, Etc.)

Hemos estado cerca... ¡Pero no hemos conseguido resolver el caso que tenemos abierto! Con Raquel Mascaraque analizamos la importancia de escuchar nuestra voz interna y hablarnos bien. Con Laura Martínez repasamos la carrera cinematográfica de Bernardo Bertolucci, uno de los cineastas italianos contemporáneos más influyentes y una de las voces más representativas del nuevo cine italiano de los 60. Marta Centella nos explica el origen de la expresión "por h o por b". 

Yeah Uh Huh Rotisserie Cinema Take 7 is the movies of 1987 Part 1! In another place and another time a collection of uneducated nincompoops decided to wield immense power to name The Last Emperor Best Motion Picture. Of course, at Yeah Uh Huh we are greatly offended by this misguided decision, and have come up with 21 movies made that same year that surpassed the greatness of Bernardo Bertolucci's epic about the reign of Puyi. Masterpieces like Spaceballs, Hellraiser, Running Man... Ah man,, I can't keep up this charade any longer. Lost Emperor was probably better than Predator. But, you get the point. It's time for one of our classic movie episodes wit an all star cast!⁠ ⁠#spaceballs #runningman ⁠#predator ⁠#hellraiser ⁠#fullmetaljacket⁠ ⁠#lethalweapon⁠ ⁠#barfly ⁠#walker ⁠#raisingarizona YUH Theme by David T and Mojo 3 ⁠https://www.amazon.com/Insanity-Sobri...⁠ Movies Nominated for the Felix in this episode: Spaceballs Barfly The Lost Boys Broadcast News Raising Arizona La Bamba Hellraiser Full Metal Jacket Predator 84 Charing Cross Road The Princess Bride The Hidden Lethal Weapon Walker The Running Man Where Is the Friend's House The Untouchables RoboCop Princess from the Moon Evil Dead II Throw Momma from the Train Rock and Roll Heaven ⁠https://open.spotify.com/show/02fL1Vg...⁠ Maniacal Music Musings on Spotify ⁠https://open.spotify.com/show/1JnX3TT...⁠ Yeah Uh Huh Social Stuff: Yeah Uh Huh on TikTok ⁠https://www.tiktok.com/@yeahuhhuhpod⁠ Yeah Uh Huh on Facebook ⁠https://facebook.com/YeahUhHuhPod⁠ Yeah Uh Huh on Twitter ⁠https://twitter.com/YeahUhHuhPod⁠ Yeah Uh Huh on Spotify ⁠https://open.spotify.com/show/7pS9l71...⁠

Returning special guest Cecilia Conti joins Torie and Maggie to discuss three eminent coming of age narratives with some solid silver screen sex.  Cringe comedy has integrity and dick poking gets literal in TURN ME ON, GODDAMMIT/FÅ MEG PÅ, FOR FAEN! (2011), a Norwegian hidden gem Torie incorrectly refers to as Swedish. Horney men run amok and Torie fails to distinguish Italian character names in Bernardo Bertolucci's mid-90s Liv Tyler flick, STEALING BEAUTY (1996). Cinema's most legendary ménage à trois crowns the gut-wrenchingly moving, multi-layered masterwork Y TU MAMÁ TAMBIÉN (2001). Bonus - Cecilia shares her story of meeting Diego Luna who, we are thrilled to report, is genuinely a sweet guy!!

durée : 01:35:00 - Les Nuits de France Culture - par : Philippe Garbit - Mardis du cinéma - Bernardo Bertolucci (1ère diffusion : 08/09/1987) - réalisation : Alexandre Fougeron

For our 250th episode this week, the boys headed to Peking to discuss the Bernardo Bertolucci masterpiece ‘The Last Emperor.'  The random year generator spun 1987, and we set up the film year, noted some world events, and then discussed how great it is to no longer have fantastic films set in Chinese spoken in English. John, with full CoVid immunity, also caught ‘Beetlejuice Beetlejuice' and gave us a spoiler-free mini-review.  Our phone number is 646-484-9298. It accepts texts or voice messages.  0:00 Intro; 1:25 250th Episod8:58 “Beetlejuice Beetlejuice” mini review;16:16 Gripes; 20:54 1987 Year in Review; 40:58 Films of 1987: The Last Emperor; 1:21:36 What You Been Watching?; 1:33:10 Next Week's Movie Announcement Additional Cast/Crew: Enzo Ungari, Mark Peploe, John Lone, Joan Chen, Peter O'Toole, Hans Zimmer, David Byrne, Ruocheng Ting, Victor Wong, Dennis Dun, Ryuichi Sakamoto, Maggie Han, Ric Young, Vivian Wu, Richard Vuu, Tsou Tijger, Tao Wu, Guang Fan, Henry Kyi, Puyi, Vittorio Storaro, Cong Su, Gabriella Cristiani, Ferdinando Scarfiotti, Jeremy Thomas. Hosts: Dave Green, Jeff Ostermueller, John Say Edited & Produced by Dave Green. Beer Sponsor: Carlos Barrozo Music Sponsor: Dasein Dasein on Spotify: https://open.spotify.com/artist/77H3GPgYigeKNlZKGx11KZ 
Dasein on Apple Music: https://music.apple.com/us/artist/dasein/1637517407 Additional Tags: SAG-AFTRA, The Emmys, iPhones, Peking, Mao Zedong, The Forbidden City, Queensland, Australia, Melbourne, Sydney, Sisu, Auckland, New Zealand, Wilhelm Yell, Wilhelm Scream, Prince Charles, King Charles, John Wayne, Charleton Heston, Preparation H. 

BOOKS:WISHFUL DRINKING by CARRIE FISHER FORBIDDEN NOTEBOOK by ALBA DE CESPEDES YELLOWFACE by REBECCA F KUANGHarriett's guests today are comedian and writer Helen Lederer known for so many roles including as Catrionia in Absolutely Fabulous. Recently she has published her memoir Not That I'm Bitter and set up the Comedy Writing In Print Prize. She has opted for the hugely witty and knowing memoir Wishful Drinking by Carrie Fisher detailing her tumultuous life as the child of two Hollywood stars who often couldn't separate fantasy from reality. Ilaria Bernardini is an Italian novelist and screenwriter. She is currently working on Bernardo Bertolucci's final script which Ilaria co-wrote with hi -The Echo Chamber. Her choice is the seminal feminist Italian novel Forbidden Notebook by the Italian-Cuban writer Alba de Cespedes about the inner life of an Italian housewife and Mama of the family. Harriett's choice is Yellowface by Rebecca F Kuang - a cautionary tale for our times of plagiarism, cultural appropriation, social media storms and more.Producer: Maggie Ayre

BOOKS:WISHFUL DRINKING by CARRIE FISHER FORBIDDEN NOTEBOOK by ALBA DE CESPEDES YELLOWFACE by REBECCA F KUANGHarriett's guests today are comedian and writer Helen Lederer known for so many roles including as Catrionia in Absolutely Fabulous. Recently she has published her memoir Not That I'm Bitter and set up the Comedy Writing In Print Prize. She has opted for the hugely witty and knowing memoir Wishful Drinking by Carrie Fisher detailing her tumultuous life as the child of two Hollywood stars who often couldn't separate fantasy from reality. Ilaria Bernardini is an Italian novelist and screenwriter. She is currently working on Bernardo Bertolucci's final script which Ilaria co-wrote with hi -The Echo Chamber. Her choice is the seminal feminist Italian novel Forbidden Notebook by the Italian-Cuban writer Alba de Cespedes about the inner life of an Italian housewife and Mama of the family. Harriett's choice is Yellowface by Rebecca F Kuang - a cautionary tale for our times of plagiarism, cultural appropriation, social media storms and more.Producer: Maggie Ayre

durée : 00:06:05 - Le Masque et la Plume - La cinéaste adapte le livre de la journaliste Vanessa Schneider, cousine de la comédienne Maria Schneider dont la vie a basculé sur le tournage de "Dernier Tango à Paris" de Bernardo Bertolucci, durant lequel elle avait été victime d'un abus sexuel lors d'une scène avec Marlon Brando.

Ep. 246: Cannes 2024: Bilge Ebiri on Lanthimos's Kinds of Kindness, Schrader's Oh Canada, Furiosa, plus Bertolucci Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. For the latest episode on the 2024 Cannes Film Festival, I was happy to chat with Bilge Ebiri of New York Magazine for his inaugural Cannes appearance on the podcast. We discuss the much-anticipated new films from Yorgos Lanthimos (Kinds of Kindness), Paul Schrader (Oh Canada), and for a well-deserved encore, George Miller (Furiosa: A Mad Max Saga). Our conversation also explores a few facets of the phenomenon that is Cannes, and the enduring inspiration of Bernardo Bertolucci. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

SEASON 2 - EPISODE 85 - HANS ZIMMER - COMPOSER Composer Hans Zimmer (DUNE, INTERSTELLAR, THE LION KING) joins us on this episode of the Team Deakins Podcast. Hans takes us back to his early career working the espresso machine for composer Stanley Myers and later making runs for director Bernardo Bertolucci on THE LAST EMPEROR before reflecting on his experience composing the score for the South Africa-set, anti-apartheid film A WORLD APART. We later discuss the purpose of score in a film and how Hans works to create an environment in which a director's story can unfold, as does a cinematographer. We learn what Hans is really doing when he's procrastinating, and we weigh the value of being original and being good. We also trade notes on working with director Denis Villeneuve, and Hans reveals his deeply personal connection to the score and story of THE LION KING. Towards the end, Hans opines that the Hollywood sound is really made in London, and he revels in the joy of conducting an orchestra that has played everything until he brings his original score to their stands. - This episode is sponsored by the Dallas Film Commission & Godox

Behind these steamy sequences, there are body doubles, pubic wigs, legal documents, and dedicated choreographers who make sure everyone is comfortable. Zachary Crockett fast-forwards straight to the good parts.  SOURCES:Alicia Rodis, intimacy coordinator.Matthew Swanlund, founder and principal attorney at Aesthetic Legal. RESOURCES:"Romance or Nomance? Adolescents Prefer to See Less Sex, More Friendships, Platonic Relationships on Screen," by Elizabeth Kivowitz (UCLA Newsroom, 2023)."You're Not Seeing Things —'Nudity Creep' in Streaming TV Reveals More of Its Stars," by Neda Ulaby (All Things Considered, 2023)."Jennifer Aniston Rejected Offer for an Intimacy Coordinator in Sex Scenes with 'Gentleman' Jon Hamm," by Esther Kang (People, 2023)."How the Sausage Gets Made: Inside Hollywood's Prosthetic Penis Craze," by Emma Fraser (Thrillist, 2022)."The Disturbing Story Behind the Rape Scene in Bernardo Bertolucci's Last Tango in Paris, Explained," by Anna North (Vox, 2018)."Two James Francos. Porn. 1970s New York. The Deuce Could Go So Wrong — but It Doesn't," by Emily St. James (Vox, 2017)."Shooting Film and TV Sex Scenes: What Really Goes On," by Melena Ryzik (The New York Times, 2015)."Sexually Explicit Casting Contract for HBO's ‘Westworld' Extras Has SAG-AFTRA Concerned," by Jonathan Handel (The Hollywood Reporter, 2015). EXTRAS:"Why is Everyone Having Less Sex?" by No Stupid Questions (2023).