Podcasts about bertolucci

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

Movie of the Year: 1971The Finale, Part IThe Movie of the Year 1971 Podcast Reaches Its ReckoningThe Movie of the Year 1971 podcast has arrived at its moment of reckoning. Ryan, Mike, and Greg — the Taste Buds — open the three-part finale with a full awards ceremony, a frank assessment of what 1971 means to cinema history, and the first wave of bracket eliminations. Sixteen films entered this season. Not all of them survive Part 1.This is a different kind of episode. There is no single film to defend or dissect. Instead, the Taste Buds are doing something harder: accounting for an entire year, making choices that cannot be unmade, and sending some of the finest films ever made home without a championship. The bracket is merciless. So, it turns out, is 1971.Part 2 continues the eliminations next week. Part 3 crowns the champion the week after. However, before any of that — the awards begin.About This Season: Sixteen Films, One ChampionThe Movie of the Year podcast runs a bracket-style competition each season, selecting the best film from a given year. This season, the Taste Buds covered sixteen films from across the full spectrum of 1971 cinema — studio blockbusters, guerrilla filmmaking, European art cinema, and Hollywood at its most unguarded. The field represents not just a great year in film, but an ongoing argument about what movies are for.The sixteen contenders are:A Clockwork Orange — Stanley KubrickSweet Sweetback's Baadasssss Song — Melvin Van PeeblesThe Devils — Ken RussellDuel — Steven SpielbergHarold and Maude — Hal AshbyStraw Dogs — Sam PeckinpahDirty Harry — Don SiegelMcCabe & Mrs. Miller — Robert AltmanWilly Wonka and the Chocolate Factory — Mel StuartWanda — Barbara LodenThe Conformist — Bernardo BertolucciThe Panic in Needle Park — Jerry SchatzbergThe French Connection — William FriedkinBrian's Song — Buzz KulikThe Last Picture Show — Peter BogdanovichKlute — Alan J. PakulaFor every episode from this season, visit the Movie of the Year podcast archive on PopFilter.What Does 1971 Mean to the Movies?Before any film is eliminated, the Taste Buds take a step back and ask the question the whole season has been building toward: what does 1971 actually mean to the history of cinema?The short answer is that 1971 is the year movies stopped asking permission. The Production Code was dead, and New Hollywood was at full velocity. The studios were desperate. The filmmakers who had spent the late 1960s learning a new visual language were suddenly free to use it without restraint. Consequently, the films of 1971 are not polished products. They are arguments — about violence, about sexuality, about power, and about who gets to survive.Moreover, 1971 is uniquely international in its ambitions. Bertolucci's The Conformist brought a European grammar of fascism and desire to mainstream audiences. Meanwhile, Melvin Van Peebles made Sweet Sweetback's Baadasssss Song entirely outside the studio system — financing it with his own money and changing the economics of Black independent filmmaking permanently. These were not films that happened alongside American culture. They actively reshaped it.Furthermore, the year produced an unusual number of films that resist a single reading. Dirty Harry is simultaneously a fascist power fantasy and a critique of one. Straw Dogs refuses to let its audience off the hook. The French Connection makes a hero out of a man who may not deserve the title. As a result, 1971 is defined not by its answers but by the quality of its questions.Above all, the Taste Buds argue that 1971 matters because it remains unresolved. These films are still being debated, still being taught, still being felt. That is the mark of a year that did something real — and the reason a bracket this competitive is so hard to close.Movie of the Year 1971 Podcast Awards: Best Supporting ActressThe first award of the finale is Best Supporting Actress. The nominees represent five performances that each, in their own way, stole scenes from films that were already remarkable. Notably, two nominees come from the same film — a testament to how fully The Last Picture Show populated its world with fully realized human beings.The nominees for Best Supporting Actress are:Ellen Burstyn — The Last Picture ShowCloris Leachman — The Last Picture ShowJulie Dawn Cole — Willy Wonka and the Chocolate FactoryVivian Pickles — Harold and MaudeStefania Sandrelli — The ConformistHistorically, the Academy nominated both Burstyn and Leachman at the 1972 Oscars — and Leachman won. However, the Taste Buds are not the Academy. Their winner reflects their own criteria, their own arguments, and a full season of watching these performances in context. Who walks away with the award? Listen to the episode to find out.Movie of the Year 1971 Podcast Awards: Best Supporting ActorThe second award is Best Supporting Actor — a category that reads, in 1971, like a catalog of actors doing the most demanding and least comfortable work of their careers. The nominees include debut-level performances and career-defining turns alike. The competition is, by any measure, extraordinary.The nominees for Best Supporting Actor are:Dudley Sutton — The DevilsMichael Gothard — The DevilsJeff Bridges — The Last Picture ShowBen Johnson — The Last Picture ShowGastone Moschin — The ConformistBen Johnson's Sam the Lion is among the most quietly devastating performances in American film — a man who embodies everything a dying town loved and then lost. Jeff Bridges, in his first major role, announced his entire career in a single film. Gastone Moschin made fascist complicity feel not monstrous but ordinary, which is considerably more frightening. The Devils, meanwhile, sent both its nominees into material that demanded everything an actor has. To find out who wins, listen to the episode.The Eliminations: The Bracket Does Not ForgiveThe awards are only half of Part 1 of the Movie of the Year 1971 podcast finale. The other half is the bracket — and the bracket is not sentimental. In this episode, the Taste Buds make the first wave of cuts. Films that have defined the conversation all season, films that generated genuine argument and genuine love, are sent home.This is the nature of the format. Nevertheless, that does not make it easy. 1971 is not a year with obvious fodder. Every film in this bracket earned its place. Consequently, every elimination in this finale is a real loss — and a real statement about what the Taste Buds believe cinema can do at its best.Which films survive? Which ones go home in Part 1? That, you will have to hear for yourself. Parts 2 and 3 continue the process — and by the end of the three-part finale, only one film from 1971 will be left standing.Why the Movie of the Year 1971 Podcast Finale MattersA season finale is never just a conclusion. It is an act of criticism — a declaration about what mattered, what lasted, and what deserves to be remembered. The Movie of the Year 1971 podcast finale is doing that work for one of the most important years in the history of film.Furthermore, the bracket format makes that work visible in a way that traditional film criticism rarely does. The Taste Buds cannot hedge. They cannot say everything is great and leave it there. They have to rank, eliminate, and ultimately choose. In doing so, they reveal something true about how they experience cinema — and they invite every listener to push back.Above all, this three-part finale is a love letter to a year that refused to behave. 1971 did not make comfortable films. It did not offer easy consolations. It asked audiences to look directly at things they would have preferred to avoid. The Taste Buds have been doing the same thing all season. Now, in three parts, they are going to decide which film did it best — and which one deserves to be called the Movie of the Year.Related Episodes from Movie of the Year: 1971

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

Sostegni pubblici negati al documentario su Giulio Regeni e a The Echo Chamber di Bertolucci, tagli al Festival di Spoleto, Umbria Jazz e altre istituzioni importanti per la cultura e per la memoria democratica. Ma il governo e il Ministero della Cultura non si fermano e tagliano i fondi anche all'Archivio Audiovisivo del Movimento Operaio e Democratico.Ne parliamo con Luca Ricciardi del coordinamento AAMOD.Ricordate che Sveja è tra i finalisti del Premio Fandango Podcast con il Fuoriporta realizzato dalla nostra Marica Fantauzzi, Federica Delogu e Angelo Romano dal titolo Quando Roma scopre Primavalle. La storia di Anna Bracci e la montagna del sapone. Potete ascoltarlo qui e potete votare per noi nel sondaggio che trovate qui. Avete tempo fino all'8 maggio!Questo Tamburino è condotto da Mariasole Garacci.Sveja è il podcast indipendente sostenuto da chi lo fa e da chi lo ascolta: condividi le nostre puntate e sostienici con una donazione sul sito sveja.it

Fabiano Alborghetti"Il movimento elementare"Romanzo in versiGabriele Capelli Editorewww.gabrielecapellieditore.comCosa resta della vita di un uomo? E come raccontare quella vita, se è quella del proprio padre?Fabiano Alborghetti torna a raccontare le vite dei fragili con un romanzo in versi potente e lancinante. Accogliendo la tradizione di Bertolucci, Pagliarani o Bellocchio e spingendola verso il memoir di Annie Ernaux, l'autore resta fedele alla sua vena civile più profonda attraversando una storia di famiglia, tanto privata quanto plurale.Dalle screpolature dei ricordi e dalla memoria umiliata, Alborghetti ricostruisce un affresco tragico e umanissimo di una vita fatta di dislivelli. La narrazione si spoglia del mimetismo, viene gettato il velo letterario della finzione: ciò che resta è l'inventario della fame e del desiderio di riscatto; il decalogo delle scelte sbagliate, di un matrimonio fallito, delle mani pesanti sui figli “perché si educa così”; e, infine, di una vita ricominciata quando è troppo tardi. Alborghetti scompone la biografia del proprio padre per guidare lo sguardo sia attraverso la storia personale che quella generale raccontando di un mondo che ha subito i cambiamenti più che accoglierli.Mio padremi guarda con occhi diversiora che sono operaiolui che poco ha studiato, eppure è arrivatomi guarda e vede il lavoro, il decoromi guarda e vede il denaroche te ne fai dello studiola dignità più sincera ha le mani sporche di grasso.La busta paga: è lei che cambia il passoma non c'è ancora nienteche possa cambiare lo sguardo.Parole poche, spiegazione nessunal'oggiè definitivo, è il sedativo.Gli equilibri alimentati (e alimentari) sono fatti così.Siamo una famiglia, ma di sconosciutiaccostati dal caso.Emerge, talvolta, qualcosa di buonouna quota assegnata di serenità. Eppure…La verità biologica non è bastantee chi cerca salvezza sarà un disertore.Fabiano Alborghetti (1970). Ha scritto di critica, fondato riviste, creato programmi radio, progetti in carceri, scuole e ospedali ed è promotore culturale. Collabora inoltre come consulente editoriale per case editrici e riviste sia in Svizzera che all'estero. È nella commissione di programmazione di diversi festival ed è presidente della Casa della Letteratura per la Svizzera italiana. Nelle vesti di autore, rappresenta la lingua italiana e la Svizzera nel mondo su mandati ufficiali e traduzioni di sue poesie sono apparse in volume, riviste o antologie in più di 10 lingue. Ha pubblicato 6 raccolte di poesia tra le quali Maiser (Premio Svizzero di Letteratura 2018) poi prodotto integralmente come radiodramma dalla RSI Radiotelevisione della Svizzera Italiana. Dal 2017 è al lavoro per un romanzo in versi basato sulla comunità Walser (Borsa letteraria UBS Cultura e Borsa di creazione della Fondazione Landis & Gyr).www.fabianoalborghetti.chDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

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)

Samah Karaki est neuroscientifique et essayiste et son dernier essai "contre les figures d'autorité" est la raison pour laquelle je la reçois de nouveau!C'est la quatrième fois que je reçois Samah. Et à chaque fois, je sens que quelque chose me bouscule profondément.Dans cet épisode, nous parlons de notre besoin presque viscéral de figures d'autorité. Pourquoi nous aimons tant certains visages. Pourquoi nous leur déléguons notre jugement. Pourquoi nous sommes parfois déçus comme si nous avions été trahis personnellement.J'ai questionné Samah sur la naissance historique de la figure du “génie”, sur la Renaissance, sur le mythe du héros, sur le mérite, sur la visibilité, sur les médias, sur les algorithmes. Mais aussi sur quelque chose de plus intime : qu'est-ce que ça fait de devenir soi-même une figure d'autorité ?Ce que j'aime dans cette conversation, c'est qu'elle ne cherche pas à “cancel”. Elle cherche à déplacer le regard.On parle de plagiat, de création collective, d'impunité, de Heidegger, de Bertolucci, d'écologie, de réseaux sociaux, de gourous, de soft skills… et surtout d'utopie.Et si la pensée n'appartenait jamais à une seule personne ?Et si le vrai pouvoir, c'était de négocier le sens ensemble ?Citations marquantes “Nous avons besoin de boussoles, mais pas de sommets.”“Le problème n'est pas la signature. C'est pourquoi on voit toujours les mêmes noms.”“Quand on sacralise quelqu'un, on suspend notre jugement.”“La pensée n'appartient pas à une figure. Elle appartient à ceux qui la manipulent.”“L'utopie, c'est un endroit où le sens se négocie en permanence.”Big Ideas (Idées centrales)1. Le besoin d'autorité est humainNous manquons d'attention. Nous avons besoin de repères.

Samah Karaki est neuroscientifique et essayiste et son dernier essai "contre les figures d'autorité" est la raison pour laquelle je la reçois de nouveau!C'est la quatrième fois que je reçois Samah. Et à chaque fois, je sens que quelque chose me bouscule profondément.Dans cet épisode, nous parlons de notre besoin presque viscéral de figures d'autorité. Pourquoi nous aimons tant certains visages. Pourquoi nous leur déléguons notre jugement. Pourquoi nous sommes parfois déçus comme si nous avions été trahis personnellement.J'ai questionné Samah sur la naissance historique de la figure du “génie”, sur la Renaissance, sur le mythe du héros, sur le mérite, sur la visibilité, sur les médias, sur les algorithmes. Mais aussi sur quelque chose de plus intime : qu'est-ce que ça fait de devenir soi-même une figure d'autorité ?Ce que j'aime dans cette conversation, c'est qu'elle ne cherche pas à “cancel”. Elle cherche à déplacer le regard.On parle de plagiat, de création collective, d'impunité, de Heidegger, de Bertolucci, d'écologie, de réseaux sociaux, de gourous, de soft skills… et surtout d'utopie.Et si la pensée n'appartenait jamais à une seule personne ?Et si le vrai pouvoir, c'était de négocier le sens ensemble ?Citations marquantes “Nous avons besoin de boussoles, mais pas de sommets.”“Le problème n'est pas la signature. C'est pourquoi on voit toujours les mêmes noms.”“Quand on sacralise quelqu'un, on suspend notre jugement.”“La pensée n'appartient pas à une figure. Elle appartient à ceux qui la manipulent.”“L'utopie, c'est un endroit où le sens se négocie en permanence.”Big Ideas (Idées centrales)1. Le besoin d'autorité est humainNous manquons d'attention. Nous avons besoin de repères.

Imprecare è una caratteristica universale del linguaggio umano. Le parolacce sono presenti in tutte le culture. Perché bestemmiamo? La scienza ha iniziato a studiare questo comportamento e ha scoperto che imprecare può addirittura ridurre la percezione del dolore. Con le imprecazioni di Davide, Claudia, Sofia e di questa ragazza giapponese. Citazioni dai film "Berlinguer ti voglio bene" (G. Bertolucci, 1977) e "Fantozzi" (L. Salce, 1975). La ricerca pubblicata su Frontiers in Psychology. Ah e pure grazie ai POOH. Learn more about your ad choices. Visit megaphone.fm/adchoices

Adioses, pasteles imposibles, amistades extremas y una obsesión cinematográfica que marcó el cine del siglo XX, podría ser el resumen de una semana que viene cargada de buenas películas. Tres Adioses es el nuevo trabajo de Isabel Coixet, inauguró la pasada edición de la Seminci y ahora llega a las salas. Una coproducción ítalo-española protagonizada por Alba Rohwarcher con la que charlamos, de esta historia inquietante y emotiva basada en la biografía novelada de Michela Murgia, donde narró el proceso de su enfermedad antes de morir. Y si hablamos de emotividad y realidad no podemos obviar La tarta del presidente del director iraní Hasan Hadi. A través de la mirada de una niña, Lamia, nos lleva a una historia donde la inocencia infantil contrasta con el mundo duro de una dictadura, la de Sadam Huseín. Un documental que llega a la plataforma Filmin y nos ha atrapado, es “Bertolucci: nuestra magnífica obsesión”, una joya que nos lleva a la mente y al legado de uno de los grandes maestros del cine italiano. Otra cinta en la que nos detenemos con su director Salvador Calvo y uno de los protagonistas, Carlos Cuevas es La fiera, una película inspirada en hechos reales que habla de quienes viven al límite para sentirse verdaderamente vivos. Todo esto además de las mejores series con Pedro Calvo, el resto de la cartelera donde el cine infantil esta semana tiene mucho protagonismo, con Ana Vega Toscano recordamos al actor, comediante, guionista y también director estadounidense Búster Keaton y no nos olvidamos de las secciones habituales.Escuchar audio

Adioses, pasteles imposibles, amistades extremas y una obsesión cinematográfica que marcó el cine del siglo XX, podría ser el resumen de una semana que viene cargada de buenas Películas. 'Tres Adioses' es el nuevo trabajo de Isabel Coixet, inauguró la pasada edición de la Seminci y ahora llega salas. Una coproducción ítalo-española protagonizada por Alba Rohwarcher, con la que charlamos de esta historia inquietante y emotiva basada en la biografía novelada de Michela Murgia. Y si hablamos de emotividad y realidad no podemos obviar 'La tarta del presidente', del director iraní Hasan Hadi. A través de la mirada de una niña, Lamia, nos lleva a una historia donde la inocencia infantil contrasta con el mundo duro de una dictadura, la de Sadam Huseín. Además, un documental que llega a la plataforma Filmin y nos ha atrapado: es 'Bertolucci: nuestra magnífica obsesión', una joya que nos lleva a la mente y al legado de uno de los grandes maestros del cine italiano.Otra cinta en la que nos detenemos con su director Salvador Calvo y uno de los protagonistas, Carlos Cuevas, es 'La fiera', una película inspirada en hechos reales que habla de quienes viven al límite para sentirse verdaderamente vivos.Escuchar audio

Esta semana tenemos un episodio de campeones. En nuestra sección dedicada al cine de aventuras vamos a hablar de una de las películas top del género como es “Lawrence de Arabia”. También recordaremos que hace 50 años fallecía Bernard Herrmann, el que muchos consideran el mejor compositor de la historia de la música de cine. Y también sería candidato a los primeros puestos el personaje que traemos en “Esos tipos a los que nos encanta odiar”, la sección dedicada a los villanos de cine más odiosos. Se trata de Attila, el fascista asesino al que daba vida Donald Sutherland en “Novecento” de Bertolucci. Hay más cosas: jugamos a las películas, charlamos con el director Koldo Almandoz de su nueva serie de televisión y nos marchamos cantando una canción de Oscar.

Un celebre aforisma di Virginia Woolf dice che non si può pensare bene se non si è mangiato bene. Per quanto ovvia, la citazione spalanca le porte a una grande verità: anche gli intellettuali più raffinati sono schiavi dei loro stomaci. E se non è lo stomaco, è il mal di denti (Kafka); se non è il mal di denti, è la tachicardia (Bertolucci); se non è la tachicardia, sono le coliche renali (Montaigne). E poi, naturalmente, c'è il grande tema del desiderio sessuale che condiziona la vita degli autori e dei loro personaggi, per cui si potrebbero citare mille penne di Casanova antichi e contemporanei, da Boccaccio a Nabokov, da Flaubert a Pasolini. Insomma, nella letteratura e nella vita, il corpo ci ossessiona, ci fa preoccupare, ci fa ridere… Questa puntata di “Alice”, allora, è dedicata proprio a esplorare alcune delle maniere con cui il nostro corpo si prende il suo spazio sulla pagina. Per lo scrittore Domenico Starnone, che ha pubblicato di recente il romanzo Destinazione errata (Einaudi), il corpo è tutto. «Non c'è nessun bivio», scrive, «si obbedisce al corpo». In un contesto in cui le relazioni sono sempre più fragili, il corpo ci aiuta a capire di cosa abbiamo davvero bisogno. Il corpo si fa anche portavoce della poesia della luganese Noemi Nagy, all'interno della raccolta Sottopelle, edita a settembre da Samuele Editore. Con le sue crepe, le sue imperfezioni e i suoi malfunzionamenti, il corpo diventa l'oggetto di una poesia che esplora il margine e l'autentico. Il corpo, infine, si fa rappresentazione pittorica attraverso lo sguardo del poeta polacco Zbigniew Herbert nel suo saggio Natura morta con briglia (Adelphi) – questo il consiglio di lettura del mese del critico Roberto Galaverni.

Un celebre aforisma di Virginia Woolf dice che non si può pensare bene se non si è mangiato bene. Per quanto ovvia, la citazione spalanca le porte a una grande verità: anche gli intellettuali più raffinati sono schiavi dei loro stomaci. E se non è lo stomaco, è il mal di denti (Kafka); se non è il mal di denti, è la tachicardia (Bertolucci); se non è la tachicardia, sono le coliche renali (Montaigne). E poi, naturalmente, c'è il grande tema del desiderio sessuale che condiziona la vita degli autori e dei loro personaggi, per cui si potrebbero citare mille penne di Casanova antichi e contemporanei, da Boccaccio a Nabokov, da Flaubert a Pasolini. Insomma, nella letteratura e nella vita, il corpo ci ossessiona, ci fa preoccupare, ci fa ridere… Questa puntata di “Alice”, allora, è dedicata proprio a esplorare alcune delle maniere con cui il nostro corpo si prende il suo spazio sulla pagina. Per lo scrittore Domenico Starnone, che ha pubblicato di recente il romanzo Destinazione errata (Einaudi), il corpo è tutto. «Non c'è nessun bivio», scrive, «si obbedisce al corpo». In un contesto in cui le relazioni sono sempre più fragili, il corpo ci aiuta a capire di cosa abbiamo davvero bisogno. Il corpo si fa anche portavoce della poesia della luganese Noemi Nagy, all'interno della raccolta Sottopelle, edita a settembre da Samuele Editore. Con le sue crepe, le sue imperfezioni e i suoi malfunzionamenti, il corpo diventa l'oggetto di una poesia che esplora il margine e l'autentico. Il corpo, infine, si fa rappresentazione pittorica attraverso lo sguardo del poeta polacco Zbigniew Herbert nel suo saggio Natura morta con briglia (Adelphi) – questo il consiglio di lettura del mese del critico Roberto Galaverni.undefinedundefinedundefined

Cosa vedere sui canali televisivi SBS? Ecco i nostri consigli per la settimana dal 31 ottobre al 6 novembre. Potete rivedere molto altro su SBS On Demand.

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.

Se le llama "efecto mariposa" al fenómeno que observó el físico Edward Lorenz en el Instituto Tecnológico de Massachusetts buscando un modelo para un programa informático de previsiones meteorológicas. Al cometer un error descubrió que una pequeña turbulencia atmosférica en Pekín, no más grande que el aleteo de una mariposa, producía un tremendo huracán en Nueva York. Así lo ocurrido en Jerusalén durante la fiesta de Pentecostés en Hechos 2 produce un "efecto mariposa" que alcanza hasta lo último de la tierra. La fiesta judía de Pentecostés era una celebración de la cosecha que en tiempos de Jesús se relaciona con la entrega de los Diez Mandamientos. "Un viento recio y lenguas de fuego" recuerdan los truenos y relámpagos del Sinaí, pero el resultado ya no está en tablas de piedra, sino en corazones transformados. La banda de rock alternativo fundada en Chicago a finales de los 80, Smashing Pumpkins, ha hecho una canción con el título de "Pentecost" en su último álbum de 2024. Billy Corgan usa en ella el lenguaje cristiano para expresar la vulnerabilidad que siente al acabar su matrimonio. Más cercano al sentido bíblico es el tema de Paul Simon en su segundo disco, tras la ruptura con Garfunkel, "Duncan" (1972). El cantautor judío neoyorquino habla de "una chica en el aparcamiento predicando a la multitud / cantando canciones sagradas / y leyendo la Biblia". Dice: "Cuando le dije que me sentía perdido / Me habló todo sobre Pentecostés". Al relato de Hechos también hace referencia el grupo canadiense Arcade Fire en su disco del 2020, donde aparece también David Byrne, que con los Talking Heads ya dedicó todo un álbum a "Hablar en lenguas" en 1983. La pregunta aquí es si "ahora que tienes el Espíritu", tu "padre también hablaba en lenguas" (Speaking In Tongues). El milagro de Pentecostés hace que los discípulos puedan hablar de Jesús en "toda lengua" a los que habían venido a Jerusalén de tantas partes. Se inicia así la misión cristiana "hasta lo último de la tierra". La historia de Gladys Aylward (1902-1970), "La pequeña mujer", cuya historia cuenta el piloto y escritor Alan Burguess en 1957, fue llevada enseguida al cine en 1958 por Ingrid Bergman en "El albergue" o "La posada de la Sexta felicidad", según sea el título español o hispanoamericano. Aunque la actriz sueca no se parece mucho a aquella humilde empleada de hogar en Londres, que al no lograr aprender chino fue rechazada por la sociedad misionera de Hudson Taylor, sí muestra la tenacidad y sacrificio de esta "pequeña gran mujer". Su obra en China demuestra cómo la misión no es cuestión de estrategias de organización, ni intereses coloniales, sino resultado de la acción del Espíritu Santo. Escuchamos algunos diálogos de la versión doblada al castellano con los comentarios de José de Segovia sobre la banda sonora original del músico japonés ahora fallecido, Ryuichi Sakamoto, para la película de Bertolucci, "El último Emperador" (1987). Cuando vino a Burgos de Finlandia, el cantautor uruguayo de origen pentecostal Luis Alfredo Díaz, hizo el primer discos de cánticos para el movimiento católico de renovación carismática. "Ven Espíritu Santo" fue publicado por Ediciones Paulinas en 1976. En él está la canción "Mi Pentecostés". La Iglesia "nace del fuego" del Espíritu, como dice el grupo Servant. Esta banda se forma en una comunidad que viene de la Revolución por Jesús, cuando el ahora también fallecido Jim Palosaari se establece ese mismo año 76 en Canadá, después de llevar a muchos "hippies" al cristianismo en Inglaterra. Es ese "fuego" el que nos da "la vida para contar la historia", como dice Servant (Born In The Fire 1984).

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

Physical media offers a lot of pleasures this week. Do Erik Childress and Peter Sobczynski feel guilty about any of them? Certainly not of Jack Nicholson's collaboration with Mike Nichols or one of their “Why Is This Not On Blu-ray” titles getting the 4K treatment. There's a little history of the nudie plus Bertolucci does a family film. An MST3K selection may not be worth all the skewering though neither was Joe Dante's snakebit summer effort from 1998. All that plus Larry Cohen's grossly satirical take on consumerism and what Beverly Hills Cop might have been like if it starred Sylvester Stallone.3:22 - Criterion (Carnal Knowledge (4K), You Can Count On Me (4K), All We Imagine as Light)21:44 - Shout! Factory (Strangers with Candy (Collector's Edition))27:16 - Kino (Mr. Peters' Pets / Everybody Loves It / 50,000 B.C. Before Clothing (1962-1964), Danger: Diabolik (4K), Silent Scream (4K), Little Buddha (4K))57:08 - Paramount (Small Soldiers (4K Steelbook))1:12:30 - Arrow (The Nightwatch Collection,The Stuff (4K), Cobra (4K))1:51:12 - New TV & Theatrical Titles On Blu-ray (Bewitched: The Complete Series (60th Anniversary Special Edition), Knight Rider: The Complete Series (4K), Ash, Fight or Flight, Final Destination: Bloodlines (4K))1:56:10 – New Blu-ray AnnouncementsCLICK ON THE FILMS TO RENT OR PURCHASE AND HELP OUT THE MOVIE MADNESS PODCASTBe sure to check outChicago Screening Schedule - All the films coming to theaters and streamingPhysical Media Schedule - Click & Buy upcoming titles for your library.(Direct purchases help the Movie Madness podcast with a few pennies.)Erik's Linktree - Where you can follow Erik and his work anywhere and everywhere.The Movie Madness Podcast has been recognized by Million Podcasts as one of the Top 100 Best Movie Review Podcasts as well as in the Top 60 Film Festival Podcasts and Top 100 Cinephile Podcasts. MillionPodcasts is an intelligently curated, all-in-one podcast database for discovering and contacting podcast hosts and producers in your niche perfect for PR pitches and collaborations. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit erikthemovieman.substack.com

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

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

The week on the show, we welcome back our music sponsor and artist in residence, DASEIN, using John's crap audio to discuss Spielberg's 2nd of 4 (at least) WWII epics, “Empire of The Sun.”  The random year generator spun 1987, a year we visited to discuss Bertolucci's “The Last Emperor”, but we still gave you some set-up of what was happening around the world to add context to why in the hell two movies about empires set in China were two of the biggest movies of 1987. Dave also opens the show discussing Bong Joon Ho's “Mickey 17” in a mini-review where he states whether this movie can hang with previous episode features “Parasite” and “Memories of Murder”. Our phone number is 646-484-9298. It accepts texts or voice messages.  0:00 Intro; 7:14 “Mickey 17” mini-review; 14:26 Gripes; 19:47 1987 Year in Review; 50:41 Films of 1987: “Empire of the Sun”; 1:47:16 What You Been Watching?; 1:57:31 Next Week's Movie Announcement Additional Cast/Crew:  Robert Pattinson, Steven Yeun, Michael Monroe, Christian Bale, John Malkovich, Joe Pantoliano, Ben Stiller, Miranda Richardson, John Williams, Kathleen Kennedy. 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: Disney, Amazon Prime, Warner Brothers, Warner Media, Looney Toons, Disney's Snow White, San Francisco, Los Angeles, The Crusades, Swedish Art, Knights, Death, MGM, Amazon Prime, Marvel, Sony, Wicked, All Quiet on the Western Front, Wicked, Conclave, Here, Venom: The Last Dance, Casablanca, The Wizard of Oz, Oscars, Academy Awards, BFI, BAFTA, BAFTAS, British Cinema. England, Vienna, Leopoldstadt, The Golden Globes, Past Lives, Monarch: Legacy of Monsters, The Holiday, Sunset Boulevard, Napoleon, Ferrari, Beer, Scotch, Travis Scott, U2, Apple, Apple Podcasts, Switzerland, West Side Story, Wikipedia, Adelaide, Australia, Queensland, New South Wales, Melbourne, Indonesia, Java, Jakarta, Bali, Guinea, The British, England, The SEC, Ronald Reagan, Stock Buybacks, Marvel, MCU, DCEU, Film, Movies, Southeast Asia, The Phillippines, Vietnam, America, The US, Academy Awards, WGA Strike, SAG-AFTRA, SAG Strike, Peter Weir. 

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.

Henry Puyi, the six-year old Emperor of China, abdicated the throne on 12th February, 1912 —but of course it was his adoptive mother, Empress Dowager Longyu, who did the paperwork. With tears in her eyes, she dramatically whispered, “I am the sinner of a thousand years.” Meanwhile, young Puyi had only pressing question: “Does that mean I don't have to study anymore?”  Plucked from his home at age two, Puyi grew up as ruler in The Forbidden City, the centre of ancient traditions, even as the empire was crumbling. By the time he was 12, it was time for another surreal experience—marriage. Meanwhile, his Scottish tutor, Reginald Johnston, introduced him to movies and Western culture. But the imperial bubble popped for good in 1924 when soldiers finally kicked him out of the Forbidden City, and for the first time in centuries, China had no emperor.  In this episode, Arion, Rebecca and Olly explain what Puyi did into exile; reveal how he coped when the Chinese Communist Party decided to rebrand him as a model citizen; and discover what Bertolucci's acclaimed movie of his life got wrong... Further Reading: • ‘The Last Emperor's Humble Occupation' (TIME, 1999): https://time.com/archive/6955501/the-last-emperors-humble-occupation/ • 'Pu Yi, last Emperor of China, is pardoned' (History Today, 2009): https://www.historytoday.com/archive/pu-yi-last-emperor-china-pardoned • ‘CHINA: Emperor Puyi crowned in Manchukuo' (BRITISH PARAMOUNT NEWSREEL, 1934): https://www.youtube.com/watch?v=fwApqUm1KkI Love the show? Support us!  Join 

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

Secretário de turismo Gramado, Ricardo Bertolucci - 22/07/2024 by Rádio Gaúcha

L'iA va-t-elle détruire l'humanité ? Probablement pas. Alors risque-t-elle de "diminuer" l'Homme ? Hmmm... faut voir.

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

La Juve e Albano stonato. Quelli che mandano i messaggi nelle chat sbagliate. Ieri a Cannes Ultimo Tango, il film che accusa Bertolucci e Mad Max.

When looking under every rock for these movies, we somehow forgot to look to the 70's European market, where things like copyrights and titles were to be shared like they were sharing their wine, their drugs, their bodies. It was a Bertolucci-esque bacchanalia of "sequels" and imposters dancing across screens for cheap coin. Per Professor Nigel Crump, "They made a lot of knockoff crap."

Armando Cattarinich"Backstage. Mimmo Cattarinich e la magia del fotografo di scena"Una mostra antologica dedicata al grande fotografo di scena italiano testimone dell'opera di Maestri assoluti del cinema da Pasolini a Fellini,da Bertolucci ad Almodovar, da Dino Risi a Michelangelo Antonioni.Circa 100 fotografie provenienti dall'immenso archivio dell'AssociazioneCulturale Mimmo Cattarinich di Roma per raccontare il cinema e i suoiprotagonisti dagli anni Sessanta a oggi. Fino al 16 giugno 2024 Museo Villa Bassi RathgebVia Appia Monterosso, 52 - Abano Terme (PD)I volti di grandi attori e registi della storia del cinema internazionale come Federico Fellini, Pier Paolo Pasolini, Bernardo Bertolucci, Anthony Quinn, Marcello Mastroianni, Alberto Sordi, Capucine, Catherine Deneuve, Roberto Benigni, Claudia Cardinale, Maria Callas ma anche protagonisti contemporanei come Giuseppe Tornatore, Pedro Almodovar, Antonio Banderas, Javier Bardem, Isabelle Huppert, Rupert Everett, Rutger Hauer, Carlo Verdone, Monica Bellucci, Natalie Portman e Penelope Cruz sono soltanto alcuni dei protagonisti delle fotografie di Mimmo Cattarinich, al quale il Museo Villa Bassi Rathgeb di Abano Terme dedica fino al 16 giugno 2024 la mostra "Backstage". Mimmo Cattarinich e la magia del fotografo di scena a cura di Dominique Lora. Cinema e fotografia, linguaggi visivi nati quasi simultaneamente, da sempre condividono e scambiano tecniche narrative e ispirazioni estetiche, generando quella complessa rete di rapporti che stimola sperimentazione e creatività, una dicotomia narrativa nata da un dialogo naturale in cui immaginario, ispirazione e sovversione sono atti di reciprocità e di scambio. La fotografia documenta il cinema e ne rivela il gesto celato, l'emozione rubata, ritraendo in immagini istanti di vita dietro le quinte: è un linguaggio complementare capace di mettere a nudo i soggetti, svelandone i misteri e raccontandone la vulnerabilità. Guardare il cinema attraverso l'obiettivo del fotografo di scena è un'esperienza complessa, interdisciplinare e organizzata attorno a tre grandi soggetti che, smascherando la finzione cinematografica, rivelano tutta l'essenza umanistica di questa ricerca: la rappresentazione del reale dietro le quinte, il ritratto dell'attore all'interno e oltre la scena e il rapporto tra cinema e arte.Ad accomunare i soggetti ritratti da Mimmo Cattarinich è la tensione alla diversità: alterazioni corporee, atteggiamenti di sfida o di esibizione, caratteristiche che contribuiscono a renderli veri, trasparenti e vulnerabili. Il fotografo traspone su pellicola sogni ed emozioni dei singoli individui, rivelandone la realtà presente e le aspirazioni.Pubblicato in occasione della mostra, il catalogo, edito da Sagep Editori – Genova (2024, italiano, 96 pagine) presenta le fotografie esposte con i testi critici della curatrice Dominique Lora e dello sceneggiatore Gianfranco Angelucci, e in apertura, un ritratto personale e privato scritto dal figlio Armando Cattarinich.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Our first Best Picture winner in this year's Oscar Month, The Last Emperor, went 9 for 9 at the awards that year. John Lone, Joan Chen and Peter O'Toole are all solid in the starring roles, but there's something fairly soulless and even a little opaque about this spectacular production...especially for a Bernardo Bertolucci film. Bertolucci and his team were the rare Western filmmakers to be allowed to shoot in The Forbidden City in China, as they told a story about a sheltered child surrounded by devious sycophants. Puyi might be a royal, but his comfortable life is spent in effectively a prison. The biggest problem we couldn't get past with this film, though, is that this was what the Oscars told us was the pinnacle of 1987 filmmaking, even though Broadcast News, Moonstruck, Robocop, Predator and Lethal Weapon were all out that year. So don't you dare try to leave the 575th edition of Have You Ever Seen---not until you get kicked out---as we marvel and moan in equal measure about The Last Emperor. Well, Actually: Maggie Han was born in Rhode Island, but her parents were South Korean. Also, Licence To Kill was released in 1989, not 1987. They can't get Sparkplug Coffee in China, but people in America and Canada can. And if you use our "HYES" promo code, you'll save 20%. Go to "sparkplug.coffee/hyes". Drop us a line via email (haveyoueverseenpodcast@gmail.com) and/or follow us on Twi-X (@moviefiend51 and @bevellisellis) and also look for Bev on Threads (@bevellisellis). Rate, review, subscribe, do all those things on your app, but also hunt us down on the web via YouTube. We post all our shows there. The destination in your browser is @hyesellis.

O olivoturismo ganha espaço, como conta André Bertolucci, proprietário do Olivas de Gramado, que foi palco da abertura oficial da colheita.

Antes todos concordavam que comer carne era fundamental, e até anúncio de iogurte falava em "comer um bifinho".Nos anos 80 ser vegano ou vegetariano passou a ser uma opção e hoje é quase obrigação.Inspirado no programa do MTBPass em que o Márcio Ravelli contou que por recomendação de uma nutricionista cortou radicalmente a carne, e acabou ficando anêmico, surgiu esse programa.Patrícia Bertolucci tem mais de 30 anos na nutrição de atletas no alto rendimento e conversando com Alvaro Pacheco tira um monte de dúvidas que quase valem uma consulta.PS - Ouça até o fim por que tem um "causo" hilário de quando a Patrícia foi nutricionista da Seleção de Futebol Brasileira, na época do Parreira.Você deve comer carne? Ouça e tire as suas conclusõesVENHA NESSA RODA: https://instabio.cc/gregariocyclingThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy

Pour a glass, get in the bathtub and listen to our first Bertolucci! After the boys go through some mini reviews to bring our 2023 podcast year to a close, we discuss 1970 in cinema and culture before our featured conversation discussing the tumultuous Bernardo Bertolucci film ‘The Conformist'. Do you like 'The Godfather'? 'The Sopranos'? See how they were inspired by this WWII-era Italian rise-of-fascism character study shot by 3-time Oscar winner and frequent mention on this podcast, Vittorio Storaro. Mini reviews include ‘Godzilla Minus One', ‘Leave The World Behind', and ‘May December'. See you in 2024, film fans!  Find all of our Socials at: https://linktr.ee/theloveofcinema.  
Our phone number is 646-484-9298, it accepts texts or voice messages.  0:00 Intro, Gripes + Mini Reviews; 24:44 1970 + The Conformist; 01:16:12 What You Been Watching? Additional Cast/Crew: Jean-Louis Trintignant, Stefania Sandrelli, Gastone Moschin, Alberto Moravia, Enzo Tarascio Jose Quagliom, Pierre Clémenti, Dominique Sanda, Georges Delerue, Julianne Moore, Natalie Portman, Charles Melton, Sam Esmail, Julia Roberts, Ethan Hawke, Mahershala Ali, Takashi Yamazaki, Minami Hamabe, Ryunosuke Camici, Sakura Ando. Dasein on Spotify: https://open.spotify.com/artist/77H3GPgYigeKNlZKGx11KZ  Dasein on Apple Music: https://music.apple.com/us/artist/dasein/1637517407 Additional Tags: Oscars, Academy Awards, The Golden Globes, Past Lives, Monarch: Legacy of Monsters, The Holiday, The Crown: Season 6 part 2, Napoleon, Ferrari, Beer, Scotch, The Weekend, Clifford Odets, Travis Scott, U2, Apple, Apple Podcasts, 101 Dalmations, The Parent Trap, Switzerland, West Side Story, Wikipedia, Australia, Queensland, Melbourne, Indonesia, Java, Jakarta, Bali, Guinea, The British, England, The SEC, Ronald Reagan, Stock Buybacks, Marvel, MCU, DCEU, Film, Movies, Southeast Asia, The Phillippines, Vietnam, America, The US, Academy Awards, WGA Strike, SAG-AFTRA, SAG Strike.  

durée : 01:35:00 - Les Nuits de France Culture - par : Philippe Garbit - Par Francesca Piolot - Avec Michel Estève, Jean-Antoine Gili et Gérard Rancinan - Avec en archives, les voix de Jean Renoir et Bernardo Bertolucci - Réalisation Claude Giovannetti

Follow Molly on Instagram @poppy.therapy Molly Vasa Bertolucci is a licensed clinical social worker and perinatal mental health therapy. She is a mother of two and the founder of Poppy Therapy in Long Beach, California, where she supports new moms and mom who want to find meaning and courage in the big transitions, emotions, and decisions that come with being a parent. Follow Dreamland Baby @dreamlandbabyco and check out our website here! Use code MOMMANUAL15 for 15% off your first Dreamland Baby purchase.

La vittoria di un gruppo di amici. Così il presidente Federtennis Binaghi ha definito il trionfo di Sinner &co in Coppa Davis. Chissà se dopo tanti anni saranno ancora amici come Panatta e Bertolucci che tra podcast e telecronache ci fanno ancora sorridere. Sentiamo cosa ne pensa proprio Bertolucci, uno degli eroi di Cile '76. Altro ex campione convocato è Giacomo Agostini per commentare il secondo titolo mondiale consecutivo vinto da Pecco Bagnaia e dalla Ducati in MotoGP. Meno emozioni del gp di Valencia e della finale di Malaga, ma a Torino si è giocata anche Juve-Inter finita 1-1. Ne parliamo con Maurizio Crosetti di Repubblica.

In this episode, I'm joined by Molly Vasa Bertolucci, a licensed clinical social worker who has also experienced postpartum OCD. We discuss.. - what OCD felt like for her during her postpartum experience - the ways in which birth trauma and minimizing of symptoms impacted her OCD and anxiety - how to differentiate "normal parenting worries" from OCD obsessions and compulsions

Struggles in the transition to motherhood can be a great motivator to help others. Such is the story of today's guest. Becoming a mom during the early months of the COVID pandemic left Molly feeling blindsided by her birth and postpartum experience, even as a therapist. Unexplained seizures sent her newborn daughter to the NICU, an experience that fueled her postpartum anxiety. Later, she had a missed OCD diagnosis and went through the understandably difficult decision to have a second child. Join us to hear Molly's story! Molly Vasa Bertolucci is a Licensed Clinical Social Worker in California and the founder of Poppy Therapy. She helps new moms, postpartum women, and moms who want to find meaning and courage in the emotions, big decisions, transitions, and new experiences that come with motherhood. She is a mother of two and is passionate about perinatal mental health. When she's not doing therapy, Molly interviews moms about their first year of motherhood for her podcast, Our First Year.  Show Highlights: Molly's story of feeling blindsided and isolated by her daughter's traumatic birth and postpartum anxiety How an earlier miscarriage and the COVID shutdown preceded Molly's traumatic birth experience at a birth center  How breathing complications for her baby, being sent home too soon (after five hours), and unexplained seizures prompted a NICU stay of about ten days for her daughter How the continued COVID shutdown, nearby wildfires, mandatory CA curfews, and the death of a beloved family pet kept Molly feeling isolated, traumatized, and anxious How Molly experienced OCD with feeling consumed by fear and doubt as her life spiraled into chaos and upheaval How shocking intrusive thoughts prompted Molly to get help when her daughter was 6 months old How Molly found help and relief through EMDR with a therapist and from the Hand to Hold support group for NICU parents How medication helped with Molly's OCD symptoms that she describes as mental and emotional torture Why it was a difficult decision to have a second child, even though that birth turned out to be a healing experience much different than the first time Why Molly decided to specialize in perinatal mental health and begin a podcast Takeaways from Molly: “There is help! If you are not feeling like yourself, reach out for support. There is a whole world of support out there for you.” Resources: Connect with Molly and Poppy Therapy: Website, Instagram, and Podcast  Visit www.postpartum.net for resources and support!  Visit www.postpartum.net/professionals/certificate-trainings/ for information on the grief course.   Visit my website, www.wellmindperinatal.com, for more information, resources, and courses you can take today! Learn more about your ad choices. Visit megaphone.fm/adchoices

Luana Bertolucci - Brasil 3 X 0 Chile - 02/07/2023 by Rádio Gaúcha

Traditionally, the definition of political cinema assumes a relationship between cinema and politics. In contrast to this view, author Mauro Resmini sees this relationship as an impasse. To illustrate this theory, Resmini turns to Italian cinema to explore how films have reinvented the link between popular art and radical politics in Italy from 1968 to the early 1980s, a period of intense political and cultural struggles also known as the long '68. Italian Political Cinema: Figure of the Long '68 (U Minnesota Press, 2023) conjures a multifaceted, complex portrayal of Italian society. Centered on emblematic figures in Italian cinema, it maps the currents of antagonism and repression that defined this period in the country's history. Resmini explores how film imagined the possibilities, obstacles, and pitfalls that characterized the Italian long '68 as a moment of crisis and transition. From workerism to autonomist Marxism to feminism, this book further expands the debate on political cinema with a critical interpretation of influential texts, some of which are currently only available in Italian. A comprehensive and novel redefinition of political film, Italian Political Cinema introduces its audience to lesser-known directors alongside greats such as Pasolini, Bertolucci, Antonioni, and Bellocchio. Resmini offers access to untranslated work in Italian philosophy, political theory, and film theory, and forcefully advocates for the continued artistic and political relevance of these films in our time. Mauro Resmini is associate professor of cinema and media studies and Italian at the University of Maryland, College Park. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Traditionally, the definition of political cinema assumes a relationship between cinema and politics. In contrast to this view, author Mauro Resmini sees this relationship as an impasse. To illustrate this theory, Resmini turns to Italian cinema to explore how films have reinvented the link between popular art and radical politics in Italy from 1968 to the early 1980s, a period of intense political and cultural struggles also known as the long '68. Italian Political Cinema: Figure of the Long '68 (U Minnesota Press, 2023) conjures a multifaceted, complex portrayal of Italian society. Centered on emblematic figures in Italian cinema, it maps the currents of antagonism and repression that defined this period in the country's history. Resmini explores how film imagined the possibilities, obstacles, and pitfalls that characterized the Italian long '68 as a moment of crisis and transition. From workerism to autonomist Marxism to feminism, this book further expands the debate on political cinema with a critical interpretation of influential texts, some of which are currently only available in Italian. A comprehensive and novel redefinition of political film, Italian Political Cinema introduces its audience to lesser-known directors alongside greats such as Pasolini, Bertolucci, Antonioni, and Bellocchio. Resmini offers access to untranslated work in Italian philosophy, political theory, and film theory, and forcefully advocates for the continued artistic and political relevance of these films in our time. Mauro Resmini is associate professor of cinema and media studies and Italian at the University of Maryland, College Park. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Traditionally, the definition of political cinema assumes a relationship between cinema and politics. In contrast to this view, author Mauro Resmini sees this relationship as an impasse. To illustrate this theory, Resmini turns to Italian cinema to explore how films have reinvented the link between popular art and radical politics in Italy from 1968 to the early 1980s, a period of intense political and cultural struggles also known as the long '68. Italian Political Cinema: Figure of the Long '68 (U Minnesota Press, 2023) conjures a multifaceted, complex portrayal of Italian society. Centered on emblematic figures in Italian cinema, it maps the currents of antagonism and repression that defined this period in the country's history. Resmini explores how film imagined the possibilities, obstacles, and pitfalls that characterized the Italian long '68 as a moment of crisis and transition. From workerism to autonomist Marxism to feminism, this book further expands the debate on political cinema with a critical interpretation of influential texts, some of which are currently only available in Italian. A comprehensive and novel redefinition of political film, Italian Political Cinema introduces its audience to lesser-known directors alongside greats such as Pasolini, Bertolucci, Antonioni, and Bellocchio. Resmini offers access to untranslated work in Italian philosophy, political theory, and film theory, and forcefully advocates for the continued artistic and political relevance of these films in our time. Mauro Resmini is associate professor of cinema and media studies and Italian at the University of Maryland, College Park. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Traditionally, the definition of political cinema assumes a relationship between cinema and politics. In contrast to this view, author Mauro Resmini sees this relationship as an impasse. To illustrate this theory, Resmini turns to Italian cinema to explore how films have reinvented the link between popular art and radical politics in Italy from 1968 to the early 1980s, a period of intense political and cultural struggles also known as the long '68. Italian Political Cinema: Figure of the Long '68 (U Minnesota Press, 2023) conjures a multifaceted, complex portrayal of Italian society. Centered on emblematic figures in Italian cinema, it maps the currents of antagonism and repression that defined this period in the country's history. Resmini explores how film imagined the possibilities, obstacles, and pitfalls that characterized the Italian long '68 as a moment of crisis and transition. From workerism to autonomist Marxism to feminism, this book further expands the debate on political cinema with a critical interpretation of influential texts, some of which are currently only available in Italian. A comprehensive and novel redefinition of political film, Italian Political Cinema introduces its audience to lesser-known directors alongside greats such as Pasolini, Bertolucci, Antonioni, and Bellocchio. Resmini offers access to untranslated work in Italian philosophy, political theory, and film theory, and forcefully advocates for the continued artistic and political relevance of these films in our time. Mauro Resmini is associate professor of cinema and media studies and Italian at the University of Maryland, College Park. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Cinematographer Manuel Billeter has worked across a variety of iconic and groundbreaking shows and films including Jessica Jones, Luke Cage, Iron Fist, Law & Order, Person of Interest, Orange Is The New Black, Lawless, and Alfonso Cuarón's Y tu mamá también. Most recently he has been Director of Photography on the HBO Max series The Gilded Age, starring Carrie Coon and Christine Baranski, and Netflix's Inventing Anna, starring Julia Garner."What I think made me want to pursue film or what started my fascination with film and cinema were definitely Fellini, Antonioni, and Bertolucci; the masters, if you will, that kind of make you dream - make you just go to a movie theater, enter this space, and just have a communal experience. I know looking at the screen and just being completely immersed and experiencing stories or experiencing things that make you understand life more - or make you understand life less - and create a dialogue between you and the rest of the world.After that, Alfonso Cuarón, obviously the collaboration was incredibly important and I learned a lot and I carry a lot of that in me, undeniably. Then, I also had the very good fortune of working as a camera assistant, and a camera operator with other cinematographers, so I learned a lot from them. And they became mentors in a way. And it was kind of like a fortunate path to becoming a cinematographer myself.The camera is my tool of choice. It's what I've been given to express what needs to be expressed, what needs to be told. So I'm definitely very particular about composition or lens choices or camera placement." https://manuelbilleter.comwww.imdb.com/name/nm1193850/ www.imdb.com/title/tt4406178/?ref_=fn_al_tt_1 https://www.imdb.com/title/tt8740976/?ref_=fn_al_tt_1www.creativeprocess.info www.oneplanetpodcast.org Instagram www.instagram.com/creativeprocesspodcast/ Photo credit: Sarah Shatz

"What I think made me want to pursue film or what started my fascination with film and cinema were definitely Fellini, Antonioni, and Bertolucci; the masters, if you will, that kind of make you dream - make you just go to a movie theater, enter this space, and just have a communal experience. I know looking at the screen and just being completely immersed and experiencing stories or experiencing things that make you understand life more - or make you understand life less - and create a dialogue between you and the rest of the world.After that, Alfonso Cuarón, obviously the collaboration was incredibly important and I learned a lot and I carry a lot of that in me, undeniably. Then, I also had the very good fortune of working as a camera assistant, and a camera operator with other cinematographers, so I learned a lot from them. And they became mentors in a way. And it was kind of like a fortunate path to becoming a cinematographer myself.The camera is my tool of choice. It's what I've been given to express what needs to be expressed, what needs to be told. So I'm definitely very particular about composition or lens choices or camera placement." Cinematographer Manuel Billeter has worked across a variety of iconic and groundbreaking shows and films including Jessica Jones, Luke Cage, Iron Fist, Law & Order, Person of Interest, Orange Is The New Black, Lawless, and Alfonso Cuarón's Y tu mamá también. Most recently he has been Director of Photography on the HBO Max series The Gilded Age, starring Carrie Coon and Christine Baranski, and Netflix's Inventing Anna, starring Julia Garner.https://manuelbilleter.comwww.imdb.com/name/nm1193850/ www.imdb.com/title/tt4406178/?ref_=fn_al_tt_1 https://www.imdb.com/title/tt8740976/?ref_=fn_al_tt_1www.creativeprocess.info www.oneplanetpodcast.org Instagram www.instagram.com/creativeprocesspodcast/

Cinematographer Manuel Billeter has worked across a variety of iconic and groundbreaking shows and films including Jessica Jones, Luke Cage, Iron Fist, Law & Order, Person of Interest, Orange Is The New Black, Lawless, and Alfonso Cuarón's Y tu mamá también. Most recently he has been Director of Photography on the HBO Max series The Gilded Age, starring Carrie Coon and Christine Baranski, and Netflix's Inventing Anna, starring Julia Garner."What I think made me want to pursue film or what started my fascination with film and cinema were definitely Fellini, Antonioni, and Bertolucci; the masters, if you will, that kind of make you dream - make you just go to a movie theater, enter this space, and just have a communal experience. I know looking at the screen and just being completely immersed and experiencing stories or experiencing things that make you understand life more - or make you understand life less - and create a dialogue between you and the rest of the world.After that, Alfonso Cuarón, obviously the collaboration was incredibly important and I learned a lot and I carry a lot of that in me, undeniably. Then, I also had the very good fortune of working as a camera assistant, and a camera operator with other cinematographers, so I learned a lot from them. And they became mentors in a way. And it was kind of like a fortunate path to becoming a cinematographer myself.The camera is my tool of choice. It's what I've been given to express what needs to be expressed, what needs to be told. So I'm definitely very particular about composition or lens choices or camera placement." https://manuelbilleter.comwww.imdb.com/name/nm1193850/ www.imdb.com/title/tt4406178/?ref_=fn_al_tt_1 https://www.imdb.com/title/tt8740976/?ref_=fn_al_tt_1www.creativeprocess.info www.oneplanetpodcast.org Instagram www.instagram.com/creativeprocesspodcast/ Photo credit: Sarah Shatz

"What I think made me want to pursue film or what started my fascination with film and cinema were definitely Fellini, Antonioni, and Bertolucci; the masters, if you will, that kind of make you dream - make you just go to a movie theater, enter this space, and just have a communal experience. I know looking at the screen and just being completely immersed and experiencing stories or experiencing things that make you understand life more - or make you understand life less - and create a dialogue between you and the rest of the world.After that, Alfonso Cuarón, obviously the collaboration was incredibly important and I learned a lot and I carry a lot of that in me, undeniably. Then, I also had the very good fortune of working as a camera assistant, and a camera operator with other cinematographers, so I learned a lot from them. And they became mentors in a way. And it was kind of like a fortunate path to becoming a cinematographer myself.The camera is my tool of choice. It's what I've been given to express what needs to be expressed, what needs to be told. So I'm definitely very particular about composition or lens choices or camera placement." Cinematographer Manuel Billeter has worked across a variety of iconic and groundbreaking shows and films including Jessica Jones, Luke Cage, Iron Fist, Law & Order, Person of Interest, Orange Is The New Black, Lawless, and Alfonso Cuarón's Y tu mamá también. Most recently he has been Director of Photography on the HBO Max series The Gilded Age, starring Carrie Coon and Christine Baranski, and Netflix's Inventing Anna, starring Julia Garner.https://manuelbilleter.comwww.imdb.com/name/nm1193850/ www.imdb.com/title/tt4406178/?ref_=fn_al_tt_1 https://www.imdb.com/title/tt8740976/?ref_=fn_al_tt_1www.creativeprocess.info www.oneplanetpodcast.org Instagram www.instagram.com/creativeprocesspodcast/