Podcasts about Gillo Pontecorvo

Jackie and Greg bear witness to the revolution for Gillo Pontecorvo's THE BATTLE OF ALGIERS from 1966. Topics of discussion include the film's influential newsreel style, its use of non-actors, how it retains a neutral point of view, and why history is always doomed to repeat itself.#48 on Sight & Sound's 2012 "The 100 Greatest Films of All Time" list.https://www.bfi.org.uk/sight-and-sound/polls/greatest-films-all-time-2012#45 on Sight & Sound's 2022 "The Greatest Films of All Time" list.  https://www.bfi.org.uk/sight-and-sound/greatest-films-all-timeCheck us out on Instagram: instagram.com/sceneandheardpodCheck us out at our official website: sceneandheardpod.comGraphic Design: Molly PintoMusic: Andrew CoxEditing: Greg KleinschmidtSupport the showSupport the show on Patreon: patreon.com/SceneandHeardPodorSubscribe just to get access to our bonus episodes: buzzsprout.com/1905508/subscribe

Buy the book here, or here. Revolution in 35mm: Political Violence and Resistance in Cinema from the Arthouse to the Grindhouse, 1960–1990 examines how political violence and resistance was represented in arthouse and cult films from 1960 to 1990. This historical period spans the Algerian war of independence and the early wave of postcolonial struggles that reshaped the Global South, through the collapse of Soviet Communism in the late 1980s. It focuses on films related to the rise of protest movements by students, workers, and leftist groups, as well as broader countercultural movements, Black Power, the rise of feminism, and so on. The book also includes films that explore the splinter groups that engaged in violent, urban guerrilla struggles throughout the 1970s and 1980s, as the promise of widespread radical social transformation failed to materialize: the Weathermen and the Black Liberation Army in the United States, the Red Army Faction in West Germany and Japan, and Italy's Red Brigades. Many of these movements were deeply connected to culture, including cinema, and they expressed their values through it.  Twelve authors, including film critics and academics, deliver a diverse examination of how filmmakers around the world reacted to the political violence and resistance movements of the period and how this was expressed on screen. This includes looking at the production, distribution, and screening of these films, audience and critical reaction, the attempted censorship or suppression of much of this work, and how directors and producers eluded these restrictions. Including over two hundred illustrations, the book examines filmmaking movements like the French, Japanese, German, and Yugoslavian New Waves; subgenres like spaghetti westerns, Italian poliziotteschi, Blaxploitation, and mondo movies; and films that reflect the values of specific movements, including feminists, Vietnam War protesters, and Black militants. The work of influential and well-known political filmmakers such as Costa-Gavras, Gillo Pontecorvo, and Glauber Rocha is examined alongside grindhouse cinema and lesser-known titles by a host of all-but-forgotten filmmakers, including many from the Global South that deserve to be rediscovered. Learn more about your ad choices. Visit megaphone.fm/adchoices

In vier Folgen widmen wir uns Gillo Pontecorvos Meisterwerk SCHLACHT UM ALGIER. In der vierten und letzten Folge beschäftigen wir uns mit den filmischen Mitteln. Für diesen wirklich herausragenden Film habe ich mir kompetente Unterstützung geholt: Dr. Joachim Görgen, der sowohl in Frankreich als auch in Algerien als ARD-Korrespondent gearbeitet hat.Worum geht es? Wir sind in Algier 1957. Die Franzosen sind die Kolonialmacht in Algerien, französisches Militär und Polizei kontrollieren alles, sie bilden eine zivile, offenbar wohlhabende Oberschicht. Einige Algerier der FLN beginnen einen Aufstand, ausgehend von der Kasbah, der Altstadt in Algier. Polizisten werden getötet, es werden gegenseitig Bombenattentate verübt. Die französischen Fallschirmjäger werden gerufen – der Kommandeur Colonel Mathieu jagt die Anführer des Aufstands, vor allem Ali la Pointe. Grausamkeiten von beiden Seiten wie die Folter von Verdächtigen durch die Franzosen und die Morde der FLN an „Verrätern“ sehen wir ungeschönt. Der italienische Regisseur Gillo Pontecorvo hat den Film 1966, also bereits vier Jahre nach Ende des Algerienkriegs, gedreht – unter besonderen Umständen.In dieser vierten und abschließenden Folge fragen wir uns: Wer steckt hinter dem Film? (Regie, Schauspieler, Musik, Produktion) Durch welche filmischen Mittel entsteht der „authentische“ Eindruck? (Perspektiven, Schnitt, Kameratechnik). Ist der Film Teil des italienischen Neorealismus, bzw. des Cinéma Vérité? Wir sprechen über den Regisseur Pontecorvo, der Widerstandskämpfer gewesen war, bevor er sich der Fotografie und dem Film zuwandte und über seinen Film KAPO von 1955. Wir reden über den einzigen ausgebildeten Schauspieler Jean Martin (der selbst Widerstandskämpfer und Fallschirmjäger gewesen war), staunen, dass Pontecorvo den Cutter austauschte, um den Film einen rauen, nachrichtlichen Ton zu geben. Und wir diskutieren die Rolle des FLN-Führers Saadi Yacef, der nicht nur als Darsteller und Produzent von großer Bedeutung für den Film war.

In vier Folgen widmen wir uns Gillo Pontecorvos Meisterwerk SCHLACHT UM ALGIER. In der dritten Folge beschäftigen wir uns mit der Rezeptionsgeschichte. Für diesen wirklich herausragenden Film habe ich mir kompetente Unterstützung geholt: Dr. Joachim Görgen, der sowohl in Frankreich als auch in Algerien als ARD-Korrespondent gearbeitet hat.Worum geht es? Wir sind in Algier 1957. Die Franzosen sind die Kolonialmacht in Algerien, französisches Militär und Polizei kontrollieren alles, sie bilden eine zivile, offenbar wohlhabende Oberschicht. Einige Algerier der FLN beginnen einen Aufstand, ausgehend von der Kasbah, der Altstadt in Algier. Polizisten werden getötet, es werden gegenseitig Bombenattentate verübt. Die französischen Fallschirmjäger werden gerufen – der Kommandeur Colonel Mathieu jagt die Anführer des Aufstands, vor allem Ali la Pointe. Grausamkeiten von beiden Seiten wie die Folter von Verdächtigen durch die Franzosen und die Morde der FLN an „Verrätern“ sehen wir ungeschönt. Der italienische Regisseur Gillo Pontecorvo hat den Film 1966, also bereits vier Jahre nach Ende des Algerienkriegs, gedreht – unter besonderen Umständen.Nachdem wir uns in der zweiten Folge mit den historischen Hintergründen beschäftigt haben, werfen wir diesmal einen Blick werfen auf die Rezeption und stellen uns folgende Fragen: Wie war die Rezeption damals 1966? Wie lange gab es Aufführungsverbote? Wie war die Rezeption 2004 als der Film einer breiteren frz. Öffentlichkeit bekannt wurde? Und schließlich; Wie schätzen andere Regisseur:innen den Film ein?Bernd Nitzschke schrieb: „In welcher Liga dieser Film angesiedelt ist, kann man durch die Passage eines Briefes verdeutlichen, den Billy Wilder 1994 an Steven Spielberg schrieb, in dem er dessen Film Schindlers Liste mit den Worten würdigte: „Was Sie geschaffen haben, ist mehr als bloß ein Film. Es ist […] ein ‚Panzerkreuzer Potemkin'‘ oder eine ‚Schlacht um Algier‘. Es ist schwarz-weiß. […] Es ist wahr. Es wurde nicht von Hollywood vorgegaukelt. Es ist wahr. Es ist ein leiser, quälender Schrei […]“ (zit. nach Karasek 2006). Genauso kann man den Film Schlacht um Algier charakterisieren: Er ist wahr. Er gaukelt nichts vor. Er ist ein leiser, quälender Schrei, der den Zuschauern durch Mark und Bein geht.“Im Podcast sprechen wir u.a. darüber, dass der Film für verschiedene Seiten als miltärische Lehrstunde eingesetzt wurde. Auch den Offizieren der US-Streitkräfte wurde SCHLACHT UM ALGIER 2003 vorgeführt, um sie auf die Guerilla-Taktiken vorzubereiten. Wir werfen einen Blick auf die Einschätzung verschiedener Filmregisseur:innen, zum Beispiel Spike Lee, Steven Soderbergh und Oliver Stone, diskutieren über die Aufführungsverbote in Frankreich und zitieren Angela Errigo: „Der Film macht keinen Hehl aus seiner antikolonialistischen Überzeugung; aber furchtbare und herzzerreißende Szenen von Gräueltaten und Vergeltungsmaßnahmen sind lobenswert ausgewogen und zeigen beide Seiten des Konflikts und seinen schrecklichen menschlichen Preis. Der Film ist packend von Anfang bis Ende. […] Er hat nichts von seiner leidenschaftlichen Kraft verloren.“Tom Schünemann von filmsucht.org sagt: „Gillo Pontecorvo erzählt diesen Konflikt ohne eine klassische Dramaturgie und verzichtet auch auf eine detaillierte Figurenzeichnung. Der französische Colonel und einige algerische Widerstandskämpfer spielen zwar eine wichtige Rolle, doch wir erleben die Akteure stets von außen; ihre private Seite und ihre innere Überzeugungen enthält uns der Film vor. Indem sich Schlacht um Algier von etwaigen Helden und einer an sie gebundenen Erzählung freimacht, kann sich Gillo Pontecorvo aus einer ambivalenten Position durch den Konflikt bewegen. Statt Einzelschicksale von Protagonisten in ein dramaturgisches Korsett zu pressen, konzentriert sich der italienische Regisseur auf das Gesamtbild und schildert den Krieg in Algier in vielen kleinen Episoden, die sich über mehrere Jahre erstrecken. (…) Aufgrund seiner eigentlich gegensätzlichen Mischung aus dokumentarischer Übersicht und fesselnder Distanzlosigkeit zählt Schlacht um Algier zu den unkonventionellsten Antikriegsfilmen – und zu den besten.“

In vier Folgen widmen wir uns Gillo Pontecorvos Meisterwerk SCHLACHT UM ALGIER. In der zweiten Folge beschäftigen wir uns mit den historischen Zusammenhängen. Für diesen wirklich herausragenden Film habe ich mir kompetente Unterstützung geholt: Dr. Joachim Görgen, der sowohl in Frankreich als auch in Algerien als ARD-Korrespondent gearbeitet hat.Worum geht es? Wir sind in Algier 1957. Die Franzosen sind die Kolonialmacht in Algerien, französisches Militär und Polizei kontrollieren alles, sie bilden eine zivile, offenbar wohlhabende Oberschicht. Einige Algerier der FLN beginnen einen Aufstand, ausgehend von der Kasbah, der Altstadt in Algier. Polizisten werden getötet, es werden gegenseitig Bombenattentate verübt. Die französischen Fallschirmjäger werden gerufen – der Kommandeur Colonel Mathieu jagt die Anführer des Aufstands, vor allem Ali la Pointe. Grausamkeiten von beiden Seiten wie die Folter von Verdächtigen durch die Franzosen und die Morde der FLN an „Verrätern“ sehen wir ungeschönt. Der italienische Regisseur Gillo Pontecorvo hat den Film 1966, also bereits vier Jahre nach Ende des Algerienkriegs, gedreht – unter besonderen Umständen.In dieser Folge stellen wir uns folgende Fragen: Was passierte in Algerien seit die Franzosen 1830 auftauchten, was passierte vor dem Aufstand, während des Aufstands, danach? Welche Auswirkungen hat das bis in die Gegenwart und: Gewalt, Terror, Folter als Mittel der Politik? Wie war die Rezeption damals, Aufführungsverbote, Rezeption 2004, Rezeption von anderen Regisseur:innen? Was halten die Franzosen heute vom Film? Wir sprechen über eine tragische Geschichte, die 1830 mit der ersten Besetzung begonnen hat, mit dem Fehler, ein Land als Teil der Republik zu betrachten, den Einheimischen aber nicht die Bürgerrechte der Republik zu geben. Wir sprechen über Schwarzstiefel und die grausame „Französische Doktrin“.Die dritte Folge erscheint am 15. Dezember und widmet sich der Rezeptionsgeschichte.

SCHLACHT UM ALGIER ist ein Film, den ich in wirklich jeder ausführlichen Bestenliste gefunden habe, als bester politischer Film, als bester Antikriegsfilm, als bester historischer Film, als einer der besten Filme überhaupt.Worum geht es? Wir sind in Algier 1957. Die Franzosen sind die Kolonialmacht in Algerien, französisches Militär und Polizei kontrollieren alles, sie bilden eine zivile, offenbar wohlhabende Oberschicht. Einige Algerier der FLN beginnen einen Aufstand, ausgehend von der Kasbah, der Altstadt in Algier. Polizisten werden getötet, es werden gegenseitig Bombenattentate verübt. Die französischen Fallschirmjäger werden gerufen – der Kommandeur Colonel Mathieu jagt die Anführer des Aufstands, vor allem Ali la Pointe. Grausamkeiten von beiden Seiten wie die Folter von Verdächtigen durch die Franzosen und die Morde der FLN an „Verrätern“ sehen wir ungeschönt. Der italienische Regisseur Gillo Pontecorvo hat den Film 1966, also bereits vier Jahre nach Ende des Algerienkriegs, gedreht – unter besonderen Umständen.Für diesen wirklich herausragenden Film habe ich mir kompetente Unterstützung geholt: Dr. Joachim Görgen, der sowohl in Frankreich als auch in Algerien als ARD-Korrespondent gearbeitet hat. Wir haben uns Zeit genommen und den Film in vier Episoden von verschiedenen Seiten aus betrachtet und die historischen Zusammenhänge beleuchtet. In der ersten Episode geht es um unseren ersten Eindruck und die Frage, ob der Film nach 58 Jahren an Wirkung eingebüsst hat. (Hat er nicht.) Wir sprechen unter anderem über die bewegliche Kamera, über Morricones Musik, über Massenszenen und Joachim erzählt, wie er den Film 1983 in London zum ersten Mal gesehen hat. Zu einer Zeit als ihn in Paris kein Kino gezeigt hätte.Die zweite Folge erscheint am 8. Dezember und widmet sich den historischen Hintergründen.

This week, we discuss two films that delve into the complex dynamics of political ideology and revolution in the 1960s. The first is The Battle of Algiers (1966), an Italian-Algerian war film co-written and directed by Gillo Pontecorvo. It is based on action undertaken by rebels during the Algerian War (1954–1962) against the French government in North Africa, the most prominent being the eponymous Battle of Algiers. The second is La Chinoise (1967), a French political docufiction film written and directed by Jean-Luc Godard about a group of young Maoist activists in Paris. La Chinoise is a loose adaptation of Fyodor Dostoyevsky's 1872 novel Demons (also known as The Possessed).   Timestamps What we've been watching (00:01:03) –  Midsommar, Hereditary, The Revenge of Frankenstein The Battle of Algiers (00:15:20) La Chinoise (00:43:15) Coin toss (01:09:10)   Links Instagram - @callitfriendopodcast @munnywales @andyjayritchie   Letterboxd – @andycifpod @fat-tits mcmahon   Justwatch.com – streaming and rental links - https://www.justwatch.com

Free preview crossover with the Bang-Bang Podcast!Arguably the most successful revolutionary film of all time, Gillo Pontecorvo's The Battle of Algiers boasts many legacies. For film buffs, its import derives from its landmark status in the pantheon of Italian neorealism and political cinema. For anti-imperialists, its value comes from its hardnosed but sympathetic depictions of armed struggle. And for imperialists or right-wing strongmen, the film has been deployed as a realistic guidebook for counterinsurgency. Van and Lyle relate these competing readings to the War on Terror and the latest debates around Gaza, Palestine, and liberation.Get the full episode and subscribe at https://www.bangbangpod.com/p/the-battle-of-algiers-1966.Further Reading:A Savage War of Peace (1977), by Alistair HorneDiscourse on Colonialism (1955), by Aimé CésaireThe Wretched of the Earth (1961), by Franz Fanon“Negroes are Anti-Semitic Because They're Anti-White” (1967), by James Baldwin“Open Letter to the Born Again” (1979), by James BaldwinOn Violence (1970), by Hannah Arendt“No regrets from an ex-Algerian rebel immortalized in film” (2007), Interview with Saadi Yacef“The Communists and the Colonized” (2016), Interview with Selim NadiHamas Contained (2018), by Tareq BaconiThe Hundred Years' War on Palestine (2020), by Rashid Khalidi

For the last episode in this season of great political films David explores Gillo Pontecorvo's The Battle of Algiers (1966), which changed the face of political movie-making forever. Filmed to look like archive footage, featuring actual participants in the events it describes, and showing both sides of the vicious contest between insurgents and counter-insurgents, it humanises a horrifying conflict. It also raises the question: where is the line between realism and rage?Coming on Saturday: a new bonus episode to accompany this series in which David talks to Helen Thompson about Apocalypse Now, the ultimate film about war and madness. Sign up now to PPF+ to get this and all our bonus episodes plus ad-free listening https://www.ppfideas.com/join-ppf-plusTo get our free fortnightly newsletter with guides, writing and clips exploring the themes of these episodes join our mailing list https://www.ppfideas.com/newslettersLooking for Christmas presents? We have a special Christmas gift offer: give a subscription to PPF+ and your recipient will also receive a personally inscribed copy of David's new book The History of Ideas. Find out more https://www.ppfideas.com/giftsNext time: Gary Gerstle on the 2024 Presidential Election Hosted on Acast. See acast.com/privacy for more information.

In this episode, we'll be taking a look at a pair of political thrillers, both of them based on real-life events. (It should be noted, however, that one of them is definitely fiction. Thinly-disguised fiction, but fiction nonetheless.) We start with The Battle of Algiers (1966), co-written and directed by Gillo Pontecorvo. We're not talking about a military battle here so much as a story of terrorism and counter-terrrorism at work. In Part 2 we'll be looking at 1969's Z (or Zed, if you prefer). --- Support this podcast: https://podcasters.spotify.com/pod/show/wordsandmovies/support

Last April, Film Comment invited writer Adam Shatz on the Podcast to talk about The Rebel's Clinic: The Revolutionary Lives of Frantz Fanon, his new biography of the Martinican writer, psychiatrist, and anti-colonial revolutionary. The Podcast explored Fanon's lasting impression on the world of cinema since his untimely death in 1961—and it became the basis for a four-day series of screenings and talks we presented last weekend, called The Rebel's Cinema—Frantz Fanon on Screen. The series took place at four cinemas across New York City, beginning at Film at Lincoln Center with Michelangelo Antonioni's The Passenger (1975), moving to Maysles Documentary Center in Harlem for Gillo Pontecorvo's Burn!, (1969), winding down to the Brooklyn Academy of Music for Ivan Dixon's The Spook Who Sat by the Door (1973), and finishing up at Anthology Film Archives with Sarah Maldoror's Monangambeee (1969) and Assia Djebar's The Zerda and the Songs of Forgetting (1982). Each screening was followed by a Q&A with special guests, which we're excited to share this week on the Podcast. For our fourth and final episode, Film Comment editor Devika Girish welcomes Adam and filmmaker and artist Madeleine Hunt-Ehrlich to discuss Maldoror's masterful 1969 directorial debut, Monagambeee, about a political prisoner in Portuguese-ruled Angola, as well as The Zerda and the Songs of Forgetting, novelist Djebar's 1982 archival elegy to the Algerian freedom struggle and women's place within it.

Last April, Film Comment invited writer Adam Shatz on the Podcast to talk about The Rebel's Clinic: The Revolutionary Lives of Frantz Fanon, his new biography of the Martinican writer, psychiatrist, and anti-colonial revolutionary. The Podcast explored Fanon's lasting impression on the world of cinema since his untimely death in 1961—and it became the basis for a four-day series of screenings and talks we presented last weekend, called The Rebel's Cinema—Frantz Fanon on Screen. The series took place at four cinemas across New York City, beginning at Film at Lincoln Center with Michelangelo Antonioni's The Passenger (1975), moving to Maysles Documentary Center in Harlem for Gillo Pontecorvo's Burn!, (1969), winding down to the Brooklyn Academy of Music for Ivan Dixon's The Spook Who Sat by the Door (1973), and finishing up at Anthology Film Archives with Sarah Maldoror's Monangambeee (1969) and Assia Djebar's The Zerda and the Songs of Forgetting (1982). Each screening was followed by a Q&A with special guests, which we're excited to share this week on the Podcast. On today's episode, Film Comment editor Devika Girish welcomes Adam, writer Clifford Thompson, and editor and organizer Cheryl Rivera about The Spook Who Sat by the Door, Ivan Dixon's explosive 1973 adaptation of the novel by Sam Greenlee about a black CIA agent who uses his specialized training to build a guerrilla revolutionary army.

Last April, Film Comment invited writer Adam Shatz on the Podcast to talk about The Rebel's Clinic: The Revolutionary Lives of Frantz Fanon, his new biography of the Martinican writer, psychiatrist, and anti-colonial revolutionary. The Podcast explored Fanon's lasting impression on the world of cinema since his untimely death in 1961—and it became the basis for a four-day series of screenings and talks we presented last weekend, called The Rebel's Cinema—Frantz Fanon on Screen. The series took place at four cinemas across New York City, beginning at Film at Lincoln Center with Michelangelo Antonioni's The Passenger (1975), moving to Maysles Documentary Center in Harlem for Gillo Pontecorvo's Burn!, (1969), winding down to the Brooklyn Academy of Music for Ivan Dixon's The Spook Who Sat by the Door (1973), and finishing up at Anthology Film Archives with Sarah Maldoror's Monangambeee (1969) and Assia Djebar's The Zerda and the Songs of Forgetting (1982). Each screening was followed by a Q&A with special guests, which we're excited to share this week on the Podcast. On today's episode, Film Comment editor Devika Girish welcomes Adam as well as Maysles executive director Kazembe Balagun and scholar and writer Brent Hayes Edwards to talk about the entanglements of race and class, and history and Hollywood in Pontecorvo's period epic Burn!, which stars Marlon Brando as a British agent provocateur who overthrows a Portuguese colony in the Caribbean by fomenting a slave revolt.

Last April, Film Comment invited writer Adam Shatz on the Podcast to talk about The Rebel's Clinic: The Revolutionary Lives of Frantz Fanon, his new biography of the Martinican writer, psychiatrist, and anti-colonial revolutionary. The Podcast explored Fanon's lasting impression on the world of cinema since his untimely death in 1961—and it became the basis for a four-day series of screenings and talks we presented last weekend, called The Rebel's Cinema—Frantz Fanon on Screen. The series took place at four cinemas across New York City, beginning at Film at Lincoln Center with Michelangelo Antonioni's The Passenger (1975), moving to Maysles Documentary Center in Harlem for Gillo Pontecorvo's Burn!, (1969), winding down to the Brooklyn Academy of Music for Ivan Dixon's The Spook Who Sat by the Door (1973), and finishing up at Anthology Film Archives with Sarah Maldoror's Monangambeee (1969) and Assia Djebar's The Zerda and the Songs of Forgetting (1982). Each screening was followed by a Q&A with special guests, which we're excited to share this week on the Podcast. On today's episode, Film Comment editors Devika Girish and Clinton Krute welcome Adam as well as critic and film editor Blair McClendon to discuss the Fanonian themes of alienation and objectivity in The Passenger, Antonioni's 1975 epic that stars Jack Nicholson as an American journalist who assumes the identity of a dead gunrunner caught up in a revolutionary conflict in Chad

Join hosts Jason Christian, Anthony Ballas, and Tim Jones as they discuss Herbert J. Biberman's iconic independent masterpiece Salt of the Earth (1954). The film is based on the real-life Empire Zinc strike in 1951 in Grant County, New Mexico, and was self-financed and made entirely outside the studio system using mostly non-professional actors, many of them actual miners playing versions of themselves. Jason compares the the film to Gillo Pontecorvo's 1966 masterpiece The Battle of Algiers in terms of its scrappy production, dialectical sctructure, and Marxist themes. (You can hear him gush about that film on another podcast, linked here.) Biberman was one of the Hollywood Ten and he was blacklisted, as were the screenwriter, Michael Wilson, and the producer, Paul Jarrico. The Hollywood apparatus and law enforcement attempted to sabotage the production of Salt of the Earth on numerous occasions, going as far as getting the lead actress, Rosaura Revueltas, deported to Mexico on trumped up charges. Although she was from a prominent family of artists and writers, she was blacklisted and never acted in another Mexican film.  As always please suscribe to the podcast if you like what you hear, and don't forget to leave us a review! Happy listening!  

Uno dei film più epici in assoluto di tutta la storia del cinema, un'opera senza tempo, capace di incantare ancora allo schermo a più di 50 anni di distanza. Il racconto della rivoluzione algerina visto dai uno dei suoi luoghi più iconici: la Casbah. (Articolo pubblicato per la prima volta il 16 marzo 2019)Il film su YoutubeIscrivetevi alla pagina dei Giovani Palestinesi d'ItaliaSul sito, una lista in continuo aggiornamento in cui troverete tutti gli eventi di luglio a Milano legati alle tematiche di Medio Oriente e DintorniIscrivetevi al canale Telegram per guardare tutta la lista di quelli (ad oggi) confermati ed avvisatemi se ne conoscete altri Qui trovi Medio Oriente e Dintorni Music, un mio podcast uscito 2 anni fa solo per Spotify in cui scoprirai la storia e le canzoni di artisti e band che hanno fatto (o stanno facendo) la storiaMentre qui trovate tutti i link di Medio Oriente e Dintorni: Linktree, ma, andando un po' nel dettaglio: -Tutti gli aggiornamenti sulla pagina instagram @medioorienteedintorni -Per articoli visitate il sito https://mediorientedintorni.com/ trovate anche la "versione articolo" di questo podcast. - Qui il link al canale Youtube- Podcast su tutte le principali piattaforme in Italia e del mondo-Vuoi tutte le uscite in tempo reale? Iscriviti al gruppo Telegram: https://t.me/mediorientedintorniOgni like, condivisione o supporto è ben accetto e mi aiuta a dedicarmi sempre di più alla mia passione: raccontare il Medio Oriente ed il "mondo islamico"

durée : 00:48:40 - Affaires sensibles - par : Fabrice Drouelle, Franck COGNARD - Aujourd'hui dans « Affaires sensibles », un monument de l'histoire du cinéma politique, « La Bataille d'Alger » de l'italien Gillo Pontecorvo victime de la censure française. - réalisé par : Helene Bizieau, Frédéric Milano

It's the UConn Popcast, and today we are joined by Professor Robert Farley, author of “Andor: Star Wars Recreates the Battle of Algiers (And it Works).” We talk about how Andor, the Disney+ streamer, was deeply influenced by Gillo Pontecorvo's 1966 movie The Battle of Algiers. Both texts tell the story of a rebellion against authoritarian colonial overlords, and both do so in a documentary style. We consider how Andor relates to other entries in the Star Wars universe, what myths and meaning structures Andor engages, and whether the show qualifies as great television, or merely pretty good Star Wars. 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

It's the UConn Popcast, and today we are joined by Professor Robert Farley, author of “Andor: Star Wars Recreates the Battle of Algiers (And it Works).” We talk about how Andor, the Disney+ streamer, was deeply influenced by Gillo Pontecorvo's 1966 movie The Battle of Algiers. Both texts tell the story of a rebellion against authoritarian colonial overlords, and both do so in a documentary style. We consider how Andor relates to other entries in the Star Wars universe, what myths and meaning structures Andor engages, and whether the show qualifies as great television, or merely pretty good Star Wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

It's the UConn Popcast, and today we are joined by Professor Robert Farley, author of “Andor: Star Wars Recreates the Battle of Algiers (And it Works).” We talk about how Andor, the Disney+ streamer, was deeply influenced by Gillo Pontecorvo's 1966 movie The Battle of Algiers. Both texts tell the story of a rebellion against authoritarian colonial overlords, and both do so in a documentary style. We consider how Andor relates to other entries in the Star Wars universe, what myths and meaning structures Andor engages, and whether the show qualifies as great television, or merely pretty good Star Wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

In his new book The Rebel's Clinic: The Revolutionary Lives of Frantz Fanon, Adam Shatz writes that, “The American poet Amiri Baraka described James Baldwin, who was born a year before Fanon, as ‘God's Black revolutionary mouth.' What Baldwin was for America, Fanon was for the world, especially the insurgent Third World, those subjects of European empires who had been denied what Edward Said called the ‘permission to narrate.'” Shatz's book explores, in lucid detail, the complex life and thought of the Martinican psychiatrist and anticolonial theorist,  whose life was tragically cut short in 1961. Fanon's epochal books Black Skin, White Mask and The Wretched of the Earth have long been a source of inspiration for politically minded filmmakers, including Med Hondo, Claire Denis, and many others. Film Comment Editors Devika Girish and Clinton Krute invited Adam on the podcast to talk about Fanon's interest in cinema, filmmakers who've engaged the theorist's works, and what exactly makes a movie “Fanonian.” In addition to films by Hondo and Denis, we talked about Ivan Dixon's The Spook Who Sat by the Door, Antonioni's The Passenger, Gillo Pontecorvo's The Battle of Algiers, Ousmane Sembène's Black Girl, and more.

I Am Fugitive From a Chain Gang (1932) / Queimada aka Burn! (1969) This week villainous schemes go according to plan as we're shackled to a chain gang by Mervyn Leroy and Gillo Pontecorvo feeds us to the bloody revolution

On this episode of What a Picture, Bryan and Hannah get radicalized in prison and discuss The Battle of Algiers, the 1966 movie directed by Gillo Pontecorvo that ranks #45 on Sight and Sound's 2022 Greatest Films of All Time Critics' Poll. Our guest on today's episode is Jason Christian from the Cold War Cinema podcast. Cold War Cinema: https://sites.libsyn.com/501203 Jason's Twitter: https://twitter.com/JasonAChristian Bryan's Bluesky: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://bsky.app/profile/bryanwhatapic.bsky.social⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Bryan's Letterboxd: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://letterboxd.com/bryan_whatapic⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Bryan's Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/bryan_whatapic⁠⁠⁠⁠⁠⁠⁠⁠⁠ Music is "Phaser" by Static in Verona.

Movies have always been a way to understand the world around us, and so, confronted with the brutal horrors of both Hamas's attacks on October 7th and Israel's disproportionate slaughtering of thousands of innocent Palestinian civilians, we question if cinema can try to make sense of such atrocities. For this episode of Celebrating Cinema, we focus on Gillo Pontecorvo's seminal classic The Battle of Algiers, a brutally candid exposé of the French colonial mindset, which recounts a similar bloody struggle for the liberation of the Algerian people in the 1950s. Ultimately, this film both humanises and complicates the reality of violence between the oppressor and the oppressed. As we discuss public oppression, organised resistance, how violence begets violence, as well as the media's power in ‘selling' a colonial occupation and the consequences for the civilian people caught in the middle of all this. But most importantly we focus on how a film like The Battle Of Algiers can offer hope for freedom in these tragic times. --- Send in a voice message: https://podcasters.spotify.com/pod/show/lab111/message

Bart and Jenna are rarely afraid to dive headfirst into uncharted areas of cinema, but certain movies are just too important for them to toss around in their usual subjective way. Gillo Pontecorvo's The Battle of Algiers is one such landmark work that seems irresponsible to discuss without a maximum amount of context. That's why Cinema60 invited African Studies and Decolonization scholar Christopher J. Lee to the podcast to help them unpack the history and politics of the film and the events that it depicts.In addition, Chris wanted to talk about Ousmane Sembène's Black Girl, another film from 1966 with a very different, but equally harsh, perspective on French colonialism in Africa. The two films, taken together, give a well-rounded visualization of the revolutionary ideas of political philosopher Frantz Fanon, whose thoughts got to the heart much of the social upheaval of the era. Listen as Chris gives a global backdrop to the rebellious spirit that inspired the big changes in the way people governed themselves, and in the way they made movies, in the mid-20th century.The following films are discussed:• The Battle of Algiers (1966) La battaglia di Algeri Directed by Gillo Pontecorvo Starring Brahim Hadjadj, Jean Martin, Yacef Saadi• Black Girl (1966) La noire de... Directed by Ousmane Sembène Starring Mbissine Thérèse Diop, Anne-Marie Jelinek, Robert FontaineAlso mentioned:• The Birth of a Nation (1915) Directed by D.W. Griffith Starring Lillian Gish, Mae Marsh, Henry B. Walthall• De Voortrekkers (a.k.a. Winning a Continent) (1916) Directed by Harold M. Shaw Starring Dick Cruikshanks, Caroline Frances Cooke, Jackie Turnbull• Rome, Open City (1945) Roma città aperta Directed by Roberto Rossellini Starring Anna Magnani, Aldo Fabrizi, Marcello Pagliero• Paisan (1946) Paisà Directed by Roberto Rossellini Starring Carmela Sazio, Gar Moore, William Tubbs• Bicycle Thieves (1948) Ladri di biciclette Directed by Vittorio De Sica Starring Lamberto Maggiorani, Enzo Staiola, Lianella Carell• Cry, the Beloved Country (1951) Directed by Zoltan Korda Starring Canada Lee, Sidney Poitier, Charles Carson• Le petit soldat (1961) Directed by Jean-Luc Godard Starring Anna Karina, Michel Subor, Henri-Jacques Huet• Cléo from 5 to 7 (1963) Cléo de 5 à 7 Directed by Agnès Varda Starring Corinne Marchand, Antoine Bourseiller, Dominique Davray• The Umbrellas of Cherbourg (1964) Les parapluies de Cherbourg Directed by Jacques Demy Starring Catherine Deneuve, Nino Castelnuovo, Anne Vernon• Nanny (2022) Directed by Nikyatu Jusu Starring Anna Diop, Michelle Monaghan, Sinqua WallsBooks discussed:• The Stranger by Albert Camus (1942)• Prison Notebooks by Antonio Gramchi (1947)• Black Skin, White Masks by Frantz Fanon (1952)• God's Bits of Wood by Ousmane Sembène (1960)• The Wretched of the Earth by Frantz Fanon (1961)• Frantz Fanon: Toward A Revolutionary Humanism by Christopher J. Lee (2015)

Da fine anni 50 a metà anni 70 in Italia c'è una grande attenzione da parte di organizzazioni, individui e partiti a quello che succede in Africa, Asia e America Latina. Luca Peretti è uno storico del cinema e delle culture italiane e si occupa del rapporto tra cinema italiano e anticolonialismo. Da Warwick, nel Regno Unito, ci racconta come anche il cinema di quegli anni abbia partecipato a questa attitudine: registi come Gillo Pontecorvo, Valentino Orsini, Carlo Lizzani e molti altri hanno cercato di raccontare quello che potremmo oggi definire “global south” con film divenuti pilastri della nostra cinematografia, e alcuni di loro lo hanno fatto andando proprio a lavorare in quei luoghi.

We discuss the work of the director of BATTLE ALGIERS and BURN! featuring Marlon Brando. We discuss the work of S-Tier action filmmaker Isaac Florentine, focusing on UNDISPUTED II, U.S SEALS II and NINJA: SHADOW OF A TEAR. Join the Patreon now for an exclusive episode every week, access to our entire Patreon Episode back catalogue, your name read out on the next episode, and the friendly Discord chat: patreon.com/theimportantcinemaclub Subscribe, Review and Rate Us on Apple Podcasts: podcasts.apple.com/us/podcast/the-…ub/id1067435576 Follow the Podcast: twitter.com/ImprtCinemaClub Follow Will: twitter.com/WillSloanESQ Follow Justin: twitter.com/DeclouxJ Check out Justin's other podcasts, THE BAY STREET VIDEO PODCAST (@thebaystreetvideopodcast), THE VERY FINE COMIC BOOK PODCAST (www.theveryfinecomicbookpodcast.com) and NO SUCH THING AS A BAD MOVIE (@nosuchthingasabadmovie), as well as Will's MICHAEL AND US (@michael-and-us)

L'anno appena trascorso, soprattutto grazie alla guerra in Ucraina, è stato l'anno della geopolitica. Gli esperti di geopolitica sono ovunque, dai talk show televisivi alle pagine dei giornali. Ma che cos'è davvero la geopolitica? Siamo abituati a pensarla come un termine neutro, come la descrizione asciutta e obiettiva dei conflitti e della politica internazionale, ma non è così: la geopolitica non solo non è neutra, è anche un modo di raccontare il mondo limitato e pieno di criticità. Se vi siete chiesti perché certi esperti nei talk show sembra che parlino di politica internazionale come se stessero giocando a Risiko, la colpa è della geopolitica. Se vi siete chiesti perché quando si parla della guerra in Ucraina se ne parla spesso con il cinismo e le certezze inamovibili di chi sta commentando una partita di scacchi, senza pensare che di mezzo ci sono persone e vite umane ma solo grandi potenze e mosse strategiche, anche qui una buona parte della colpa è della geopolitica. In questa puntata di Globo ne parliamo con Luciano Bozzo, politologo e docente di Relazioni internazionali alla Scuola di Scienze politiche “Cesare Alfieri” dell'Università di Firenze. I CONSIGLI DI LUCIANO BOZZO - il film Apocalypse Now, di Francis Ford Coppola - il film La battaglia di Algeri, di Gillo Pontecorvo - il film Il padrino, parte I, di Francis Ford Coppola - il documentario The fog of war, di Errol Morris - il libro Terra e mare, di Carl Schmitt - il libro Il nomos della terra, di Carl Schmitt - il libro Guerra e pace, di Tolstoj - la serie tv Le bureau, di Éric Rochant Globo è un podcast del Post, condotto da Eugenio Cau. Learn more about your ad choices. Visit megaphone.fm/adchoices

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: war, terrorism, guerilla war, torture, death, execution, bombing, violence, colonialism, racism. This week we're headed to North Africa, for a story of will and determination for freedom that's unlike any other. From 1954 to 1962, Algeria fought a tough, complicated war for independence from colonial rule from France, a war that upended the French political system and began a long, difficult process of African decolonization. That's a lot to try to pack into a single film, but director Gillo Pontecorvo does so with absolute perfect thought and foresight. Using mostly non-actors and filming in many of the actual locations where the events of the war took place, this week's film is an absolute testament to vérité filmmaking. Viva L'algerie as we discuss The Battle of Algiers on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from "Tema Di Ali (#2)” from the motion picture The Battle of Algiers composed by Ennio Morricone and Gillo Pontecorvo. ℗© 1966, 2015 Creazioni Artistiche Musicali C.A.M. srl. (una Società del Gruppo Sugar) / Universal Music Publishing Ricordi srl. Excerpt taken from the motion picture soundtrack to the film All the President's Men, composed by David Shire. © 1976 Warner Bros. Entertainment Inc. All Rights Reserved.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of a suicide from 31:20-31:44 and abuse and torture of prisoners from 33:19-34:08. Also, discussion of mass murder, antisemitism, alcoholism, execution, mass killings, death, grief. We move out of the fog of war to a much weirder and funnier moment of history this week as we dive into the power vacuum of Soviet power in 1953. More importantly, though, we're watching an Armando Iannucci film, which means razor-sharp satire and incredibly inventive cursing, both of which are present here. But while the movie is executed impeccably, it misses the absurd scale of Soviet terror and power under their most feared and, at times, respected leader. To be sure, the performances here are incredibly funny and on the mark. But Iannucci wanted to pull punches in the name of realism and perhaps should have just leaned in a bit more. Make sure to run while you plot your next move as we discuss The Death of Stalin on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from the “National Anthem of the USSR” as performed by The Red Army Choir, copyright 2002 Silva America. Excerpts taken from the film The Death of Stalin are © 2017 Paramount Pictures. All Rights Reserved. Excerpt taken from "Tema Di Ali (#2)” from the motion picture The Battle of Algiers composed by Ennio Morricone and Gillo Pontecorvo. ℗© 1966, 2015 Creazioni Artistiche Musicali C.A.M. srl. (una Società del Gruppo Sugar) / Universal Music Publishing Ricordi srl.

durée : 00:54:45 - Affaires sensibles - par : Fabrice Drouelle - Aujourd'hui dans « Affaires sensibles », un monument de l'histoire du cinéma politique, « La Bataille d'Alger » de l'italien Gillo Pontecorvo.

In questo audio il prezioso incontro con Ugo Mattei giurista e Wilma Labate regista. L'intervista è in Contemporaneamente di Mariantonietta Firmani, il podcast pensato per Artribune. In Contemporaneamente podcast trovate incontri tematici con autorevoli interpreti del contemporaneo tra arte e scienza, letteratura, storia, filosofia, architettura, cinema e molto altro. Per approfondire questioni auliche ma anche cogenti e futuribili. Dialoghi straniati per accedere a nuove letture e possibili consapevolezze dei meccanismi correnti: tra locale e globale, tra individuo e società, tra pensiero maschile e pensiero femminile, per costruire una visione ampia, profonda ed oggettiva della realtà. Con Ugo Mattei e Wilma Labate parliamo di film e diritto, creatività e controllo, poesia e capitale. Il diritto si crea e si scopre da convenzioni e consuetudini sociali che il giurista definisce e trascrive. Il cinema è indissolubilmente arte e propaganda a causa dei grandi investimenti di cui necessita. Come arma nelle mani del potere che come scudo per la difesa dei più deboli, nella società governata da algoritmi il diritto non trova spazio. Il godimento dell'arte e nel cinema non è mai istituzionale ma personale, la cultura è non può essere solo mercato ma è un bene comune. Il mercato, in un certo senso come il diritto, viene costruito e naturalizzato; ma il buon diritto risiede in principi di ragionevolezza, e molto altro. BREVI NOTE BIOGRAFICHE DEGLI AUTORIWilma Labate regista, laurea in filosofia, inizia la regia di programmi televisivi e fiction RAI; nei primi Anni Ottanta, inizia a realizzare documentari industriali. Il suo primo mediometraggio è “Ciro il Piccolo”, ambientato a Napoli 1990; nel 1992 il primo lungometraggio “Ambrogio” con Enrico Brignano e Anita Ekberg. Sceneggiatrice e regista di 15 tra film e documentari, il suo capolavoro resta “La mia generazione” 1996, con Francesca Neri, Silvio Orlando, Claudio Amendola, e Stefano Accorsi. Film che le vale la nomination agli Oscar migliore regista, nel 2001 il radiodramma ”Dulhan la sposa” le valse la vittoria nel Prix Italia. Nuovi documentari “Un altro mondo è possibile” 2001, per i quali collabora con: Ettore Scola, Franco Giraldi, Mario Monicelli, Gillo Pontecorvo, Gabriele Salvatores. Nel 2003 realizza “Lettere dalla Palestina”, e “Maledettamia”, nel 2001 “Domenica” trasposizione del romanzo "Ronda del Guinardò" di Juan Marsè. Poi, nel 2005 scrive la biografia di Fausto Bertinotti "Il ragazzo con la maglietta a strisce". Nel 2008 realizza “Signorinaeffe”, con Valeria Solarino e Filippo Timi, storia di un'impiegata della FIAT nell'anno della "Marcia dei 40.000". Nel 2012 presenta alla Mostra del Cinema di Venezia nella sezione Venezia Classici il documentario collettivo “Monicelli - La versione di Mario”. Dirige il documentario “Qualcosa di noi” 2015, e nel 2018 “Arrivederci Saigon” presentato al Festival di Venezia, avventura in Vietnam di una band femminile, durante la guerra del 1968. Di nuovo alla Mostra del Cinema di Venezia con il film “La ragazza ha volato” nel 2021. Ugo Mattei professore di Diritto civile all'Università di Torino, e di Diritto internazionale e comparato all'Università della California. Membro dell'International Academy of Comparative Law, dell'European Law Institute, già membro dell'Executive Editorial Board dell'American Journal of Comparative Law. Professore invitati a Oslo, Berkeley, Montpellier e Macao. Inoltre è fondatore di Global Jurist, redattore generale del Common Core of European Private Law; Coordinatore Accademico del Collegio Universitario Internazionale di Torino dal 1993. Consulente scientifico in prestigiose istituzioni come: Istituto di diritto comparato Friburgo University; Istituto di diritto, economia e finanze Copenhagen Business School; Società austriache e rumene di diritto comparato. Candidato sindaco di Torino nel 2021, vicesindaco a Chieri (2014-15), dove promuove “AREA festival internazionale dei beni comuni”.Vicepresidente della Commissione Rodotà presso il Ministero Giustizia 2007; Presidente dell'acquedotto di Napoli 2011-14; Presidente di Generazioni Future Rodotà. Avvocato cassazionista, fra i redattori dei quesiti referendari sui beni comuni, e contro la privatizzazione dell'acqua ottenendo 27 milioni di preferenze 2011. È autore di oltre cento pubblicazioni tradotte in inglese, francese, spagnolo, portoghese, russo, cinese, giapponese e ucraino. Tra i molti libri pubblicati troviamo: “Beni Comuni. Un Manifesto” 2011; “Punto di svolta. Ecologia, tecnologia e diritto privato. Dal capitale ai beni comuni” 2018. Ultima pubblicazione “Il diritto di essere contro” 2022.

Forrest Miller discusses Gillo Pontecorvo's The Battle of Algiers with Conan Neutron and Erica Strout. Gillo Pontecorvo and Franco Solinas, two Italian Filmmakers, were chosen by Saadi Yacef to tell the story of the Algerian NLF's fight against French Colonialism. The Battle of Algiers tells the story of the initial (losing) battles from 1954-1957. It is an intense war film detailing death, destruction, torture, and bombings.   Subscribe to Movie Night Extravaganza   YouTube: https://www.youtube.com/movienightextravaganza   Twitch: https://www.twitch.tv/movienightextravaganza     Become a Movie Night Extravaganza Patron: https://www.patreon.com/MovieNightExtra   About TIR Thank you, guys, again for taking the time to check this out. We appreciate each and every one of you. If you have the means, and you feel so inclined, BECOME A PATRON! We're creating patron-only programming, you'll get bonus content from many of the episodes, and you get MERCH!   Become a patron now: https://www.patreon.com/join/BitterLakePresents   Please also like, subscribe, and follow us on these platforms as well, especially YouTube!   THANKS Y'ALL   YouTube: www.youtube.com/thisisrevolutionpodcast   Twitch: www.twitch.tv/thisisrevolutionpodcast & www.twitch.tv/leftflankvets   Facebook: https://www.facebook.com/Thisisrevolutionpodcast/   Twitter: @TIRShowOakland Instagram: @thisisrevolutionoakland   Pascal Robert in Newsweek: https://www.newsweek.com/black-political-elite-serving...   Get THIS IS REVOLUTION Merch here: www.thisisrevolutionpodcast.com   Get the music featured on the show here: https://bitterlakeoakland.bandcamp.com/   Follow Djene Bajalan @djenebajalan Follow Kuba Wrzesniewski @DrKuba2

Au sommaire de cette spéciale classiques : -Évocation du 20.000 LIEUES SOUS LES MERS de 1916 signé Stuart Patton (Rimini éditions) ;-Retour sur LE TIGRE DES MERS & LE LION DE ST MARC, deux oeuvres de Luigi Capuano édités par Artus Films ;-Découverte de Jean-Denis Bonan, cinéaste auquel Luna Park Films consacre un DVD intitulé TROUBLES 1966-1968 ;-Débat sur l'adaptation par la BBC du grand classique d'Herbert George Wells intitulé LA GUERRE DES MONDES (Elephant Films) ;-Échanges sur QUEIMADA de Gillo Pontecorvo sorti chez Rimini éditions ;-Chronique de LES TIGRES VOLANTS de David Miller sorti chez Rimini éditions ;-Quelques comédies considérées, pour certaines, comme cultes et éditées par Elephant Films, à savoir, LE SECRET DE MON SUCCÈS d'Herbert Ross, RALPH SUPER KING de David S. Ward, JUMEAUX & JUNIOR d'Ivan Reitman et ARRÊTE OU MA MÈRE VA TIRER de Roger Spottiswoode. Bonne écoute à toutes et à tous !

A rebellion film if there ever was one, Italian director Gillo Pontecorvo's magnum opus dramatizes the fight against French Colonialism in 1950s Algeria. A quintessential example of Italian neorealism, the documentary-style of the filming, the film stock itself, and the use of non-professional actors give this film a gritty, real-life feel. It has been an inspiration to terrorist organizations and governments alike, and is an important and thought-provoking part of cinema history. Next Episode: CHE - Part one and two (2008) Feel free to contact us with any questions or comments! Our website: www.dangerclosepod.com Or join our Facebook group at: Danger Close - Podcast Discussion Group (https://www.facebook.com/groups/1442264899493646/) If you like the show, please leave us a review on Apple Podcasts or Spotify If you would like to support the show and get extra episodes where we discuss sci-fi, fantasy, and comedy war movies, go to our Patreon page at: www.dangerclosepod.com/support warmovies #warfilms #war #film #films #movies #history #cinema #revolution #algeria

Rafaell Wolf ne pouvait pas passer à coté de cette sorti en Dvd Blu-Ray dʹune des pierres angulaires du cinéma français, un film coup de poing de Gillo Pontecorvo sorti en 66 et qui a longtemps créé le malaise en France.

Trois films au menu de ce débat : "House of Gucci" de Ridley Scott "De son vivant" dʹEmmanuelle Bercot "Encanto" de Jared Bush et Charise Castro. Les conseils : "La bataille dʹAlger" de Gillo Pontecorvo (en Dvd et BluRay, sur plateformes) "SOS Fantômes" dʹIvan Reitman (trouvable partout) Avec Catherine Fattebert et Rafael Wolf

Sur le billard cette semaine.Hasard du calendrier: débarquement en ce moment chez plusieurs éditeurs différents de 4 films, tout aussi différents en apparence, mais scénarisés par un seul homme, Franco Solinas.Oscarisé en 1966 pour le scénario du très influent et toujours formidable La Bataille d'Alger de Gillo Pontecorvo (Chez StudioCanal, collection Make My Day), responsable de l'infléchissement politique du western italien avec El Chuncho de Damiano Damiani (chez Carlotta), auteur du Faux Western et vrai film marxiste Queimada toujours de Gillo Pontecorvo (chez Rimini) et enfin, en tant qu'italien, et en compagnie d'un réalisateur américain, auteur, en toute logique, de l'un des meilleurs films sur la France, Monsieur Klein de Joseph Losey (Chez StudioCanal, hors-série de la collection Make My Day).On cause donc du travail de Franco Solinas mais aussi d'Hitchcock, de Leone, de Friedkin, de Rivette en tirant tous les fils que ces films nous donnent l'occasion de tirer. 

Green & Red Goes Hollywood! At Green and Red, we're big fans of popular culture and how it can politicize and radicalize people. We've already done shows on sports and activism, progressive Country music, cancel culture, Socialism and the Sopranos and other such themes. So.....in an upcoming series of episodes, we're periodically going to talk about our favorite political/radical films, television and music. Check out part 1 here: https://www.youtube.com/watch?v=mGV962JFmiY&t=2722s In part 2, we continue our journey into the best political films by starting with movies about working-class issues and activism. Then we discuss some of our favorite foreign films with political themes, including the work of Gillo Pontecorvo and Costas-Gavras. One of our favorite themes was "political satire and dystopia," where we talked about movies that often served as warnings about the world we live in today. We discussed what we called "cultural touchstones," films that defined an era ("Hair") or served as a snapshot into a reality we never were shown ("Being There"). We also talk about important films that discuss wars, revolution, and imperialism, which are essential to any left understanding of politics. And we finished with our least favorite political films, and you get to hear an epic rant from Bob about the horrors of "Forrest Gump." If you haven't subscribed to Green & Red on YouTube yet, just click that button above. Please SHARE and please leave any COMMENTS about what we left in or what we left out. We want to know what your favorite political flicks are. And please share the word about G&R and follow us all over social media! -------------------------------------------------------------------------------------- Follow Green and Red// https://linktr.ee/greenandredpodcast Donate to Green and Red Podcast// Become a recurring donor at https://www.patreon.com/greenredpodcast Or make a one time donation here: https://bit.ly/DonateGandR This is a Green and Red Podcast production. Produced by Bob (@bobbuzzanco) and Scott (@sparki1969). “Green and Red Blues" by Moody. Editing by Isaac.

John Cribbs of The Pink Smoke makes his triumphant return to the show this week to talk about Gillo Pontecorvo's Burn starring Marlon Brando. We talk the different cuts of the film, Brando's "dandy" performance, behind the scenes drama, and offer up pairing recommendations. Head to ColumbusvHughes.com for extensive show notes and links to where you can find John.

in conduzione Alberto Crespi e Orio Caldiron

This week on CRITICALLY ACCLAIMED, film critics William Bibbiani and Witney Seibold review the new Zack Snyder epic ARMY OF THE DEAD, the slasher SEANCE, World War II documentary FINAL ACCOUNT, and the coming of age film DRUNK BUS! Also on THE CRITICALLY ACCLAIMED STREAMING CLUB, Bibbs and Witney explore Gillo Pontecorvo's THE BATTLE FOR ALGIERS, one of the most influential movies ever made, and arguably one of the best! Army of the Dead - 3:15  Seance - 38:05  Final Account - 46:15  Drunk Bus - 53:45  Review Round-Up - 58:46  The Battle for Algiers - 1:01:32  Subscribe on Patreon at www.patreon.com/criticallyacclaimednetwork for exclusive content and exciting rewards, like bonus episodes, commentary tracks and much, much more! And visit our TeePublic page to buy shirts, mugs and other exciting merchandise!  Email us at letters@criticallyacclaimed.net, so we can read your correspondence and answer YOUR questions in future episodes! And if you want soap, be sure to check out M. Lopes da Silva's Etsy store: SaltCatSoap! Follow us on Twitter at @CriticAcclaim, join the official Fan Club on Facebook, follow Bibbs at @WilliamBibbiani and follow Witney at @WitneySeibold, and head on over to www.criticallyacclaimed.net for all their podcasts, reviews and more!

The “Cinephile Cuties” are ready to engage in some guerilla warfare. That’s because they’re chatting about Gillo Pontecorvo’s The Battle of Algiers. In this episode, Casey castigates Patrick for having fun while watching this film. And Patrick regales us with Part Two of his “Las Vegas Fiasco.” In addition to that, they put The Battle of Algiers through their proprietary “Fartsy Test.” Patrick recommends a drink pairing. And they give each other notes to improve the show. Listen in to see if it’s working!If you like this show, tell a friend!If you’d like to sponsor the show, Venmo Patrick at Patrick-Mallon$10 for episode sponsorship$25 for sponsorship AND the boys will imbibe a drink of your choosing.Follow Farthouse on Twitter and InstagramFollow Patrick and Casey and TwitterAnd follow Patrick and Casey and on Letterboxd

Continuamos com a série especial do nosso podcast, a Parada Cultural das Nações, que inspirada pela proximidade das Olimpíadas de Tóquio, troca os atletas pelos destaques do cinema, música e televisão dos países neste desfile de delegações. Os países ou territórios em foco neste quarto episódio são as Ilhas Virgens Americanas, os Emirados Árabes Unidos e a Argélia. Ouça no lugar que você quiser: SoundCloud | Spotify | Deezer | iTunes | Google Podcasts | Orelo | Feed | Download Parada Cultural das Nações #4 > A partir de 9s Ilhas Virgens Americanas > A partir de 1min12s - Porta-bandeira: a banda Akae Beka - Destaques: a cantora Dezarie, as bandas Bambu Station e Midnite, o duo R. City e o rapper Verse Simmonds - Citados: os filmes Jamesie, King of Scratch (2007), de Andrea Leland; Dangers of the Tongue (2008), de Morgan Quigley; e Code 2600 (2011), de Jeremy Zerechak; os programas televisivos Vida no Paraíso: Caribe (2014-) e Vida no Paraíso: Ilhas (2014-); a banda Blinky & the Roadmasters Emirados Árabes Unidos > A partir de 4min36s - Porta-bandeira: a série Justiça (Qalb Al Adala, 2017), de William M. Finkelstein, Tony Spiridakis e Carol Wolper - Destaques: a série The Platform (2020), de Hozan Akko; o cantor Hamdan Al Abri, da banda ABRI - Citados: os filmes Al-hilm / The Dream (2005), de Hani Al-Shaibani; Bilal: A New Breed of Hero (2015), de Khurram H. Alavi e Ayman Jamal; Zinzana (2015), de Majid Al Ansari; Aerials (2016), de S.A. Zaidi; e A Tale of Shadows (2017), de Tariq Alkazim; o cantor Mehad Hamad, o pianista e compositor Hussain Al Jassmi, e a cantora Ahlam Argélia > A partir de 7min58s - Porta-bandeira: o filme Papicha (2019), de Mounia Meddour - Destaques: o documentário Nardjes A. (2020), de Karim Aïnouz; os rappers Soolking, Flenn e Didine Canon 16 - Citados: os filmes Rih al awras / The Winds of the Aures (1966) e Crônica dos Anos de Fogo (1975), de Mohamed Lakhdar-Hamina; Batalha de Argel (1966), de Gillo Pontecorvo; Poussières de Vie / Dust of Life (1995), Dias de Glória (2006) e Fora da Lei (2010), de Rachid Bouchareb; a música "El Arbi" (ou "Kilouni"), de Khaled Confira a transcrição completa deste podcast no site: https://www.nervos.com.br/post/paradaculturaldasnacoes4-ilhasvirgensamericanas-emiradosarabesunidos-argelia *Músicas presentes no podcast: “Brazilian Fantasy (Standard Version)”, de Alexandre de Faria; “Hino regional das Ilhas Virgens Americanas”, de Sam Williams e Alton Adams; “Black Carbon”, de Akae Beka feat. Chronixx; “Hino dos Emirados Árabes Unidos”, de Mohammed Abdel Wahab e Ārif al-Shaykh; “Wrong Direction”, de ABRI e Elie Afif feat. Rony Afif; “Hino da Argélia”, de Mufdi Zakariah e Mohamed Fawzi; “El Arbi” (ou “Kilouni”), de Khaled

In this episode, Nashwa, Liv Agar, and Will Menaker talk through the third world cinema excellence of Gillo Pontecorvo's The Battle of Algiers. Enclosed is a preview; if you want to unlock the full episode, you can do so by subscribing on Patreon or Substack.Through its depiction of some of the most pivotal events in the Algerian War of Independence, The Battle of Algiers is an unsparing portrayal of what revolution actually is. The film specifically covers the events of 1954 to 1962, with French occupiers failing to stop an impending uprising. Although over half a century old, the movie shows little sign of aging and remains relevant today—it has been shown to members of the Black Panthers, the IRA, and had a featured screening at the Pentagon. The film remains unique and a must see for anyone interested in the Algerian people's fight for liberation from 132 years of French colonialism. During their chat, the trio reflect on the movie, its most important scenes, and some of the historical context around it; they also close the episode by rating the film on a very special scale. Guest Information:Guests of the week: Liv Agar and Will MenakerLiv Agar is the host of a philosophical podcast under her own name whose topics address current political events. Additionally, she is a frequent co-host of QAnon Anonymous, an anti-QAnon podcast that analyzes the group's conspiracy theories, and an occasional streamer. You can find her on Twitter and Twitch.Will Menaker is one of the cohosts of the leftist podcast Chapo Trap House. You can find him on Twitter.Production Credits:Hosted by Nashwa Lina KhanMusic by Johnny Zapras and postXamericaArt for Habibti Please by postXamericaProduction by Nashwa Lina Khan and Johnny ZaprasProduction Assistance by Andy Assaf and Raymond Khanano Social Media & Support:Follow us on Twitter @habibtipleaseFollow us on Instagram @habibtibleaseSupport us on PatreonSubscribe to us on Substack This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit habibtiplease.substack.com/subscribe

Tornem a parlar de missatges polítics al cinema! Analitzem els missatges de les següents pelis: Queimada (1969) de Gillo Pontecorvo, un relat anticolonial que explica la relació entre independència nacional i lluita de classes Atmósfera 0 “Outland” (1981) amb Sean Connery, un western espacial homenatge a "At Noon" de Gary Cooper, abusos de la patronal i drogues a la feina Rambo (Acorralado) (1982) amb Sylvester Stallone, un relat anti-militarista (no, de veres, la primera sí, les altres són molt fatxes) Perseguido (1987) amb Arnold Schwarzenegger, un relat distòpic basat en la novel·la "The Running Man" de Stephen King en un món controlat per la desinformació i els realitys shows híper-violents

The Finleys don their mortarboard hats and get downright academic while discussing Gillo Pontecorvo's The Battle of Algiers (1966). Don't forget to rate and review us on iTunes!

Revolutionary filmmaker Lizzie Borden (WORKING GIRLS) joins Dan and Alonso to discuss her feminist guerilla masterpiece BORN IN FLAMES (1983) and the inspiration she drew from Gillo Pontecorvo's groundbreaking THE BATTLE OF ALGIERS (1966). Follow us @filmandmoviepod on Twitter, Instagram, and Facebook, and leave us a five-star review on Apple Podcasts or wherever you get your episodes.Lizzie Borden will screen BORN IN FLAMES on TCM on November 4 at 2:30am EST. https://womenmakefilm.tcm.com/filmmaker/lizzie-borden/BORN IN FLAMES screens on The Criterion Channel: https://www.criterionchannel.com/born-in-flamesTHE BATTLE OF ALGIERS screens on HBOMax https://play.hbomax.com/feature/urn:hbo:feature:GXnqYMAVTqxtjhQEAAAI9 and The Criterion Channel https://www.criterionchannel.com/the-battle-of-algiersLizzie recommends THE CONFORMIST https://kanopy.com/video/conformist and the films of Reiner Werner Fassbinder https://www.criterionchannel.com/directed-by-rainer-werner-fassbinderAlonso recommends ALPHAVILLE https://kanopy.com/video/alphaville and LAND AND FREEDOM https://archive.org/details/LandAndFreedomFullFilm

Writer-director Kimberly Peirce (BOYS DON'T CRY) joins Dan and Alonso to discuss her powerful 2008 film STOP-LOSS, about veterans of the Iraq war being pressed back into service, and the inspirations she drew from Gillo Pontecorvo's legendary THE BATTLE OF ALGIERS (1966). Follow us @filmandmoviepod on Twitter, Instagram, and Facebook, and leave us a five-star review on Apple Podcasts or wherever you get your shows.Don't miss Kimberly Peirce screening STOP-LOSS on TCM on October 20 as part of the Women Make Film series.STOP-LOSS is available on Amazon Prime: https://www.amazon.com/Stop-Loss-Ryan-Phillippe/dp/B07MYC2X1C/?tag=alonsoduralde-20THE BATTLE OF ALGIERS is available on HBOMax https://play.hbomax.com/feature/urn:hbo:feature:GXnqYMAVTqxtjhQEAAAI9 and The Criterion Channel https://www.criterionchannel.com/the-battle-of-algiersKimberly recommends ON THE WATERFRONT https://www.amazon.com/gp/video/detail/B000I9VXSQ/?tag=alonsoduralde-20I AM A FUGITIVE FROM A CHAIN GANG https://www.amazon.com/gp/video/detail/B004VFMNYQ/?tag=alonsoduralde-20 CASABLANCA https://play.hbomax.com/feature/urn:hbo:feature:GXdu2UQAP-qXCPQEAADfLAlonso recommends BURN! https://www.amazon.com/gp/video/detail/B000W4Q27O/?tag=alonsoduralde-20

Adam Lippe, born in March of 1978 in New York City, is a writer-producer-director living in Phoenixville, PA. His interest in film began early on, and he began writing film criticism at the age of 15 while attending Riverdale Country School, first in direct competition with his school newspaper, and eventually for the paper itself. He made his first movie, The Stranger, a dark, satirical drama, at the age of 16. The film was wildly ambitious, especially in terms of its multi-layered soundtrack, forcing him to constantly have to create workarounds for the primitive editing equipment that the school had available. In college, both at Hampshire and Emerson College, Adam continued his interest in macabre humor, making short films and music videos, as well as directing live television versions of his comedic sketches. After returning to film criticism in 2002, writing for various magazines and websites, he became a full time critic and columnist in 2008, first for the Columbus, Ohio paper Outlook Weekly, and then his own website, A Regrettable Moment of Sincerity, in 2009. That led to his reviews appearing on Rotten Tomatoes and becoming a member of the Online Film Critics Society, as well as being named one of the top film critics in America while being featured in a TV ad for Examiner.com appearing all over the country.  During that highly prolific period, Adam started Medium Rare Cinema, a weekly film series hosted at a local movie theater (though the movies were projected from video sources), comprised entirely of films not available for viewing in the USA. This involved tracking down the rights holders for each film and clearing them for public screening, putting together trailer compilations and short films that related to each film and writing a lengthy essay about each and every film screened.  Eventually this meant obtaining rare footage and re-creating director’s cuts that were never released either due to censorship or studio interference. Films by directors like John Woo, John Boorman, Ringo Lam, and Gillo Pontecorvo had their films completely transformed, which not only involved combining different sources and color correcting, but often completely re-writing a film’s subtitles to improve the quality of the translation.  Beginning in 2013, Adam began writing a horror-comedy, Wait, Wait, Don’t Kill Me, about a mysterious virus that gets loose in inner-city Philadelphia. When the government tries to shut down the spread and realizes they can’t, they decide to fence off the locals and let everyone die. Slowly, but surely, Adam secured financing and cast the movie out of New York, shooting the SAG New Media film in Philadelphia. The completed movie, which Adam wrote, produced and directed, features 40 locations, 45 speaking parts and more than 100 extras, was shot in fits and starts over a period of several years. The film also incorporates footage shot both during the Pope’s and the DNC’s visit to Philadelphia, which coincidentally supported the movie’s notion of a city being blocked off by elaborate fences and large amounts of security.  Wait, Wait, Don’t Kill Me was completed in late March 2020, amidst an actual worldwide viral pandemic, and has secured distribution. 

Solté el control remoto al ver en la pantalla: “Queimada. Un agente secreto británico planea una revolución contra el gobierno de Portugal. Protagonizada por: Marlon Brando, Evaristo Márquez. Dirigida por: Gillo Pontecorvo. 1969”. Imán y limadura

As we kick off our Summer of Sixties, we start with an overview of the decade and highlight two films in particular. Agnes Varda's Black Panthers (1968) Gillo Pontecorvo's Burn! (1969)

We start off with a discussion of the current uprising in the United States. Settle (settler colonialism) - Five Fingers for Marseilles (France), Utu (New Zealand), The Proposition (Australia). Aaron - Activists Docs Whose Streets? (also mentioned: Pickaxe & The Miami Model) Feature Presentation - First Reformed (2017) Here's the link to a brief overview of Transcendental Style in Film as we discussed on this episode.  Coming Attractions - on the next episode we'll be kicking off our Summer of Sixties with Agnes Varda's Black Panthers (1968) documentary and Gillo Pontecorvo's Burn! (1969).

[Infiltrados no Vietnã] A semana foi agitada no mundo do cinema: no episódio, discutimos os impactos do adiamento do Oscar e do Bafta, a como será a entrada de Sundance e Berlim na corrida dos prêmios. Também falamos sobre o cancelamento (pelas redes sociais) de E O Vento Levou. A solução da vez é esconder filmes antigos? Destacamento Blood (20:16) é o nosso filme da semana. O novo de Spike Lee traz muitas de suas marcas, divide opiniões e gera muito debate. Racismo e Guerra do Vietnã juntos como nunca antes visto no cinema. No Momento Belas Artes à La Carte o destaque é um filme de Gillo Pontecorvo com Marlon Brando. No Puxadinho da Varanda outra lista de filmes para ver em streamings. E, no Cantinho do Ouvinte, os comentários dos varandeiros sobre o episódio anterior. Bom Podcast!

C'est aujourd'hui un film loin des grandes productions hollywoodiennes qui se trouve dans le bunker : "La Bataille d'Alger", rare film sur la lutte pour l'indépendance algérienne ; mis en avant par Elie Tenenbaum, spécialiste de l'histoire de la guerre irrégulière au XXe siècle.

Hi everyone! We’re closing out the week with another entry in our series, Under the Kanopy. Kanopy is a library and university funded streaming service that grants card holders six free streams a month, featuring a combination of classic, mainstream, independent, and international films. They currently have streaming deals with some of our favorite distributors, like A24 and Kino Lorber, which offer the critically acclaimed, if not commercially successful films. Today’s film was one recommended early last week, when I was suffering from a migraine and looking for distraction while the medicine worked. While not getting any recommendations on Twitter, I got an avalanche of films on my Facebook page. A good friend had been recommending this film for quite some time, and after catching it on Kanopy, I can see why he was so excited. I’ll have my thoughts on THE BATTLE OF ALGIERS (1966) in a moment. For a few other films in this same series, check out MARIANNE AND LEONARD: WORDS OF LOVE (Episode #731), HAVE A NICE DAY (Episode #724), and TO DUST (Episode #717). Before the review, we’ll have a promo from our good friend Rory Mitchell, from the Mitchell Report Unleashed podcast. He was gracious enough to have yours truly on as a guest recently, which you can check out in Mitchell Report Unleashed Episode #173. You can follow Rory on Twitter @officallyrory, on Facebook @mitchellreportunleashed, and on Instagram @re3684. You can also subscribe to the podcast at anchor.fm/rory-mitchell8. Don’t miss a single episode of his insightful interview-driven show. Subscribe to stay current with the latest releases. Contribute at Patreon for exclusive content. Connect with us over social media to continue the conversation. Here we go! ///// > ///// Today’s movie is THE BATTLE OF ALGIERS (1966), directed by Gillo Pontecorvo, and written for the screen by Franco Solinas, based on a story developed by both. In 1954 French-occupied Algeria, Ali La Pointe (Brahim Hadjdadj) is recruited into the FLN (National Liberation Front) by Djafar (Yacef Saadi). Over the next three years, the FLN recruits and organizes the people into a revolution against the French, which escalates into a full-out counter-insurgency operation lead by Colonel Mathieu (Jean Martin). No spoilers. Growing up in the 1980s and 1990s, I knew a lot of people who served for some period of time in Vietnam. Up until our occupation of Afghanistan, Vietnam was the longest war the United States was ever involved in, spanning roughly twenty years from 1955 through 1975. An entire generation of soldiers committed to occupying a foreign country. It’s a strange position for the United States to find themselves within, having kicked off the decolonization era with the American Revolution, but the United States also wanted to get in on the colonization action wherever it could after World War II, especially if France was withdrawing. It would take us twenty years to learn what the French did before withdrawing: occupying another country without the consent of the people is generally impossible without the application of brutal, draconian policies. Of course, the French didn’t actually learn the lesson after withdrawing from Southeast Asia. France simply couldn’t support a long-term war halfway around the world and rebuild at home, so after relinquishing their claim in 1954, they consolidated around their other colonial territories, including Algeria in North Africa. The French had already segregated Algiers into European and non-European quarters, along with segregating the economy along those same lines. Revolution was in the air, especially after the French were kicked out of Asia, and rather than accept that colonialism was being dismantled, the French doubled down in Algeria, leading to the first major phase of the Algerian War for Independence, documented in today’s film. THE BATTLE OF ALGIERS has two key strengths. First, and foremost, is the straight-ahead storytelling. All too often when it comes to films about timely political topics, the filmmakers take a particular perspective, usually siding with one side or the other, and calibrating the characters and plot to further that perspective. Think of any of the many films about US soldiers stationed in the Middle East facing down caricatures of radicalized local residents. But Pontecorvo and Solinas don’t sugarcoat the war between France and Algeria, as Italian filmmakers, happy to show the real concerns of the colonial authority and the revolutionary front, as well as the horrific torture techniques by the French and the civilian bombings by the revolution. We see the equal terror on European and Algerian, as collateral damage in the larger struggle. They let the story speak for itself. Second, and probably more important, is the almost play-by-play handbook for engaging in guerilla insurgency, and how it escalates from peaceful oppression, if such a term is even possible, into an all-out armed conflict. We see what passes for an unequal and exploitative peace, how the people are organized first in secret, then publicly in disobedience, and how the violence escalates based upon the colonial power’s response to each protest. Pontecorvo and Solinas also don’t waste a whole lot of time on character development, letting history and actions speak where dialogue would in most historical epics. The film serves as an accounting, a handbook, and a cautionary tale all in one. THE BATTLE OF ALGIERS keeps a steady pace throughout, never failing to engage the viewer, much in the same way as THE IRISHMAN (Episode #658). Ali La Pointe and Colonel Mathieu represent the revolution and the colonial authority, with commanding performances by Hadjadj and Martin. And helping to bring it all together is a wonderful score by Ennio Morricone in collaboration with Pontecorvo, a delightful guitar-driven affair that captures the espionage like quality to the guerilla tactics. The result is a film that makes it so clear not just what happened, but what went wrong, and why. It also became an inspiration for other revolutionary movements, against colonial powers or otherwise. One would think that anyone who saw this film would see the futility of military occupation. The United States was already 12 years into the Vietnam War when THE BATTLE FOR ALGIERS was released, steeped in political drama at home that made leaving difficult. We should have learned our lesson after that travesty, and yet, the United States is currently occupying another two nations since 2001, lasting so long that it has become the new longest war in United States history, despite rebranding efforts. And we continue to make the same errors the French made in Algiers, the most heinous of which is believing we can make it work this time, as if fixing the errors of the present would help us fix the errors of the past. Hopefully future nations are wiser. THE BATTLE OF ALGIERS is a landmark military epic that doubles as an important fictionalized documentation of the historical record. Pontecorvo and Solinas deliver a well-paced, even-handed look at the French occupation of Algeria, and the stakes that rapidly escalated. Fans of historical epics, or folks who want to learn more about the decolonization era in North Africa, should definitely check out this film. I’ll be playing the score on repeat tonight. Rotten Tomatoes: 99% (CERTIFIED FRESH) Metacritic: 96 (MUST SEE) One Movie Punch: 10/10 THE BATTLE OF ALGIERS (1966) is not rated and is currently playing on The Criterion Channel and Kanopy.

Uno dei film più epici in assoluto di tutta la storia del cinema, un’opera senza tempo, capace di incantare ancora allo schermo a più di 50 anni di distanza. Il racconto della rivoluzione algerina visto dai uno dei suoi luoghi più iconici: la Casbah. Seguici anche su fb, ig e sul nostro sito https://mediorientedintorni.com/ , ogni giorno, il meglio della cultura di Medio Oriente e Mondo islamico

OSCAR SFT GIVEAWAY DETAILS (2:28) - DM us a photo of your predictions for the main Oscar categories - 1 FREE GUESS W DM OF SCREENSHOT OF A WRITTEN 5 STAR REVIEW - 1 FREE GUESS W OSCAR PREDICTION ON YOUR SOCIAL MEDIA TAGGING THE SWEET FILM TALK Templates for making your predictions AND the nominees will be uploaded daily on the Sweet Film Talk Instagram page SWEET 250 REVIEWS (7:34) #250 Throne of Blood directed by Akira Kurosawa (9:55) #249 Aladdin (1992) directed by Ron Clement and John Musker (12:45) #248 The Legend of 1900 directed by Giuseppe Tornatore (15:15) #247 Winter Sleep directed by Nuri Bilge Ceylan (19:10) #246 Guardians of the Galaxy directed by James Gunn (23:05) #245 Infernal Affairs directed by Andrew Lau and Alan Mak (25:22) #244 The Battle of Algiers directed by Gillo Pontecorvo (29:20) #243 Sholay directed by Ramesh Sippy (35:20) #242 Neon Genesis Evangelion: The End of Evangelion directed by Hideaki Anno (37:53) #241 In the Mood for Love directed by Wong Kar-Wai (43:57) Thanks for listening like always. Love you guys, SWEEEEEEETTTTTT --- Support this podcast: https://anchor.fm/sweetfilmtalk/support

con Carlo Poggioli, Francesca Romana Buffetti e Fabio Francione

The 1947 British film Black Narcissus is many things: an allegory of the end of empire, a chilling ghost story with nary a spook in sight, a psychological romance, and a meditation on the nature of the divine. Its weirdness is as undeniable as it is difficult to locate. On the surface, the story is straightforward: five nuns are tasked with opening a convent in the former seraglio of a dead potentate in the Himalayas. But on a deeper level, there is a lot more going on, as Phil and JF discover in this conversation touching on the presence of the past, the monstrosity of God, the mystery of the singular, and the eroticism of prayer, among other strangenesses. REFERENCES Michael Powell and Emeric Pressburged (dirs.), Black Narcissus (https://www.imdb.com/title/tt0039192/) Rumer Godden (https://en.wikipedia.org/wiki/Rumer_Godden), author of the original novel Stanley Kubrick, The Shining (https://www.imdb.com/title/tt0081505/) Gilles Deleuze, [Difference and Repetition](https://en.wikipedia.org/wiki/DifferenceandRepetition) Tim Ingold (https://en.wikipedia.org/wiki/Tim_Ingold), British anthropologist -- lecture: "One World Anthropology" (https://www.youtube.com/watch?v=iEWS89dd9nM) Jonathan Demme (dir.), The Silence of the Lambs (https://www.imdb.com/title/tt0102926/) Pierre Bourdieu (https://en.wikipedia.org/wiki/Pierre_Bourdieu), French sociologist Bruno Latour, On the Modern Cult of the Factish Gods (https://www.dukeupress.edu/on-the-modern-cult-of-the-factish-gods) Don Barhelme (https://en.wikipedia.org/wiki/Donald_Barthelme), American short story writer Paul Ricoeur (https://plato.stanford.edu/entries/ricoeur/), French philosopher Weird Studies episode 16 (https://www.weirdstudies.com/16): On Dogen Zenji's Genjokoan The King and the Beggar Maid (https://en.wikipedia.org/wiki/The_King_and_the_Beggar-maid) Gillo Pontecorvo, [The Battle of Algiers](https://en.wikipedia.org/wiki/TheBattleofAlgiers)_ “Painting with Light,” (https://www.youtube.com/watch?v=tuwU_f42dUk) featurette on the Criterion Collection DVD of Black Narcissus

Esta semana, el maestro Gustavo Tatis te cuenta las razones por las que Cartagena se ha convertido en un gran imán para personalidades tan importantes como Yoko Ono, Cervantes, Gillo Pontecorvo y Marlon Brando. Presenta: Gustavo Tatis GuerraProduce: Víctor Hugo Mora Mendoza

durée : 00:52:51 - La Fabrique de l'Histoire - En 1965, Gillo Pontecorvo tourne "La bataille d'Alger". A travers le personnage d’Ali la Pointe, inspiré du chef FLN Yacef Saâdi, le film retrace la lutte entre les combattants nationalistes algériens et les parachutistes français commandés par le général Massu pour le contrôle de la Casbah en 1957.

El semiólogo francés Roland Barthes escribió en su defensa de “Salò o los 120 días de Sodoma”, atacada por los defensores de la moralidad y las buenas costumbres en los años setenta, que es aquella una película “insustituible, fascinante y difícilmente asimilable”. La última obra de Pier Paolo Pasolini entrecruza dos referencias difícilmente homologables, como son la novela del Marqués de Sade “Las 120 jornadas de Sodoma o La Escuela del Libertinaje”(1785), y el acontecimiento histórico de la República de Salò (1943-1945), uno de los episodios más oscuros de la Historia italiana. La transcripción de la obra de Sade es prácticamente literal: todas las aberraciones sádicas aparecen en la película explícitamente, mostradas con una frialdad documental. La desmesura del libertinaje se somete a un juicio riguroso: el juicio implacable del encuadre cinematográfico, en composiciones en gran plano general, con un punto de vista alejado y distante, o con el formato televisivo objetivizador del “busto parlante”, cuando las relatoras toman la palabra para describir toda clase de perversiones “con todo lujo de detalles”, como recuerda el Presidente al comienzo de la primera jornada. Parece que Pasolini hace suya esta premisa sádica: presentar las situaciones “con todo lujo de detalles”. Ahora bien, y aquí está la clave de la adaptación: mientras que en el universo sádico, estas detalladas relaciones (o relatos), están destinadas a excitar la fantasía de los libertinos, Pier Paolo Pasolini no filma las imágenes al estilo del Marqués de Sade, sino como lo hubiera hecho Bertold Brecht. Todo es teatralidad (no en vano, se considera a Sade como precursor del “Teatro de la Crueldad”), todo es artificio, falsedad, tedio; todo es disfraz e impostura en el mundo cerrado sobre sí mismo que es la lujosa villa en la que se recluyen los fascistas con las relatoras, el grupo de adolescentes y los sirvientes. El mundo, así pues, es todo imagen y representación, pues las costumbres, también roles de verdugos y de víctimas, se enseñan, se aprenden, o mejor dicho, se imponen por la fuerza coercitiva del poder. En la película de Pasolini, por tanto, tan prolija en detalles escabrosos mostrados sin ningún tipo de censura (desde violaciones colectivas hasta cropofagia), no hay simbolismo posible. Estas imágenes no representan nada, no remiten a otra cosa; tampoco no hay metáforas, no hay metonimias, no hay juegos de doble sentido. Todo es, literalmente, lo que parece. Tampoco se demuestra nada: simplemente se muestran los hechos en toda su crudeza. De ahí el escándalo que produce. Es esta una película abyecta, pero no en el sentido de “abyección” que criticó Jacques Rivette en su célebre artículo sobre “Kapo” de Gillo Pontecorvo. No. En “Salò” no hay embellecimiento, no hay retórica, no se representa nada de forma estilizada o subrayada. El metraje es obsceno en grado superlativo. Esto es: “ob”, lo que se arroja delante, enfrente, ante nosotros, en la “scena” que vemos con nuestros propios ojos. Como sucede en el chiste de la chica que sorprende a su novio mirando una película pornográfica, no se puede poner el acento en la expresividad de un “travelling” ni en la calidad de la iluminación. En la “imagen-obscena” la desmesura es tal que el contenido devora toda pretensión expresiva o retórica. Ya no se puede no mirar. Pero es que Pasolini va todavía más allá: prescinde de la retórica por completo. El cineasta tan sólo nos autoriza a elaborar una alegoría a partir del “collage” o montaje que consiste en convertir a los libertinos dieciochescos de Sade en fascistas, quienes enseñan a los jóvenes no ya el libertinaje, sino que imponen a estos adolescentes abrazar la maldad en su máxima desmesura. Esa alegoría no es, pues, una premisa, sino un resultado, pues resulta ser una interpretación que debe formular el propio espectador, si es que tiene valor suficiente como para terminar de ver la película completa. Es por ello que, con Barthes, consideramos “Salò” como una obra “insustituible”, a pesar de que la abyección de sus imágenes la hagan también “difícilmente asumible”. Porque la película de Pasolini no es moralista, porque no nos ofrece ningún modelo de conducta a seguir; pero sí es, en cambio, una película ética, porque nos confronta directamente con el extremo de la maldad y la crueldad. Y no nos deja indiferentes. Sólo hay un momento que contraviene todo lo anteriormente dicho. Aquí la luz de la contradicción, tan interesante en la cinematografía de Pasolini: se trata de la escena en la que el muchacho se escapa de la mansión para acostarse con la sirvienta negra. Frente a las tediosas descripciones de las prostitutas y a las lentísimas composiciones del dispositivo sexual sádico, este muchacho huye de la situación cerrada por su propia voluntad, movido por un impulso irracional e ineludible de atracción por lo distinto, escondido en medio de la noche. Ella es, además, el personaje subalterno: una sirvienta de color, frente a la pálida color de la piel de los áureos adolescentes seleccionados por los fascistas. Esta pareja copula apasionada, placentera y frenéticamente en el sótano cuando los camisas negras los sorprenden “in fraganti”. Todo lo contrario de lo que sucede en la mansión. Sin embargo, esto no los vemos, la película no los muestra en el acto sexual. Ahí sí hay velo, sí hay misterio, sí hay erotismo. Porque allí sí hay verdad; frente a la teatralidad tan falsa y refinada de los fascistas. Y eso es algo inadmisible, por eso los fascistas “cosen” a los amantes a tiros sin pestañear. En ese momento el muchacho se ennoblece, porque en vez de convertirse en un “mártir”, como sus compañeros del panópticon erótico, que asumen su función de víctimas y padecen el suplicio con resignación, él asume la muerte y el dolor con valentía, completamente desnudo y con el puño izquierdo en alto, desafiando con el saludo comunista al mismísimo rostro del monstruo fascista. Y cuando cae fusilado, dando el paso decidido hacia la muerte (es este un último gesto de rebeldía, el más radical), se embellece. Pasolini lo filma con la misma frialdad del resto de la película. Pero, hábil director escénico y de actores, Pier Paolo hace caer el cuerpo desnudo lateralmente, con un movimiento ondulado que estira y exhibe todos los músculos del cuerpo, ligero y pesado a un tiempo. Con la misma belleza escultural de un Cristo en una iconografía religiosa de la Piedad. Quién sabe si como el propio Pier Paolo Pasolini, el 1 de noviembre de 1975, en una carretera de la costa ostiense. O como Federico García Lorca, también, el 18 de agosto de 1936, en algún lugar entre Víznar y Alfacar. Manuel Broullón Esta noche nos refugiamos en Radiopolis de la abyección y las más insoportables aberraciones … José Miguel Moreno, Zacarías Cotán, Manuel Broullón, y Raúl Gallego.

Lee and Daniel look at Gillo Pontecorvo's provocative film from 1966, "The Battle of Algiers". Imperialism, colonialism, racism, torture, terrorist tactics, and other light-hearted topics are touched upon. Yeah, this one gets political and depressing at times. The hosts also ponder how they'd want to be executed if given the choice. What the hosts have watched and a listener's comment are also covered. The Battle of Algiers IMDB  Featured Music:"June 1956, The People Revolt"; "Tortures" & "Theme of Ali" by Ennio Morricone & Gillo Pontecorvo.

Made in 1966 by Italian neo-realist director Gillo Pontecorvo, the film is based the actions of rebels and French government during the Algerian War of 1954–62. So realistic was it, that it has been used as a training film. See acast.com/privacy for privacy and opt-out information.

"I did some of my best acting in Burn!", skrev Marlon Brando i selvbiografien "Songs my mother taught me" (1994)."Burn!" (1969) eller "Queimada", som er filmens italienske titel er instrueret af Gillo Pontecorvo med musik af Ennio Morricone. Det er den 25. film på Thomas og Mortens liste over de 100 bedste film.I 1844 rejser den britiske agent William Walker (Marlon Brando) til den fiktive ø Queimada i Caribien. Som agent provocateur sætter han gang i et slaveoprør mod det portugisiske regime. Slaveoprøret bliver en succes og der opstår et særligt venskab mellem Walker og slavernes leder José Dolores (Evaristo Márquez). Nogle år efter vender Walker tilbage til øen, men denne gang for at slå ned på et oprør blandt arbejderne på sukkerfabrikkerne. Nu er Walker og Dolores pludselig på hver sin side. Mon venskabet kan stå distancen?Thomas og Morten tager en snak om frihed, Marlon Brandos evner som skuespiller, samt forholdet mellem rom og whisky.

Hosted by Andrew Quinn and Darren Mooney, and this week with special guest Phil Bagnall, The 250 is a (mostly) weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released every Saturday at 6pm GMT, with the occasional bonus episode thrown in. This time, Gillo Pontecorvo's La battaglia di Algeri. Unfolding primarily between November 1954 and December 1957, La battaglia di Algeri follows the chaos in the streets of Aligers as revolutionary nationalist forces struggle against the control of the French colonial forces. At time of recording, it was not actually ranked on the Internet Movie Database, having dropped out between its selection as a film to be covered and the recording of the of the episode.

Película de 1966, salida exactamente cuatro años después de los eventos que culminaron en la liberación de Argelia, quienes en el '62 se declararon independientes de Francia. Como todo movimiento de liberación, esto no les salió fácil; esta película se concentra en las Guerrillas del Frente de Liberación Nacional en la capital de Algeria, Alger.  El director Gillo Pontecorvo se arrancó de la propaganda de los bandos y luego de una intensa investigación sobre lo que ocurrió esos años, se puso a filmar. Y vaya cómo filma. 

En este episodio, comentamos una película de relevancia cultural y gran mérito artístico, cuyo fuerza narrativa tiene resonancia muy actual: La batalla de Argel. Obra del italiano Gillo Pontecorvo, fue estrenada en 1966, peligrosamente cerca de los acontecimientos históricos que retrata. ¿Por qué se le considera epítome del cine político? ¿Del lado de qué bando estaba el director? ¿Podría una película así ser hecha en estos tiempos? ¿Por qué José Ramón se ausentó diciendo que se iba a rebelar contra una cadena de cines? Todo esto será despejado.

En este episodio, comentamos una película de relevancia cultural y gran mérito artístico, cuyo fuerza narrativa tiene resonancia muy actual: La batalla de Argel. Obra del italiano Gillo Pontecorvo, fue estrenada en 1966, peligrosamente cerca de los acontecimientos históricos que retrata. ¿Por qué se le considera epítome del cine político? ¿Del lado de qué bando estaba el director? ¿Podría una película así ser hecha en estos tiempos? ¿Por qué José Ramón se ausentó diciendo que se iba a rebelar contra una cadena de cines? Todo esto será despejado.

The impact of Gillo Pontecorvo's masterpiece is so great that it extends far beyond cinema and into terrorist organisations, as well as the US Pentagon. The post 286. The Battle of Algiers appeared first on Steven Benedict.

Kathryn Bigelow’s intense, controversial new docu-drama DETROIT owes no small debt to Gillo Pontecorvo’s intense, controversial 1966 film THE BATTLE OF ALGIERS, which covers another volatile historical moment with a potent mixture of newsreel-style realism and expressionistic fervor. In this half of our comparison of the two films, we discuss what makes BATTLE OF ALGIERS such an unsettling and resonant film, debate what point it’s making around the issues of terrorism and torture, and, somehow, find the echoes of Pontecorvo’s film in James Cameron’s AVATAR. Plus, a listener takes us up on our request for feedback on “anything else film-related” with a fruitful prompt on unadaptable adaptations. Please share your comments, thoughts, and questions about THE BATTLE OF ALGIERS, DETROIT, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices

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The classic 1966 war film THE BATTLE OF ALGIERS got a re-release in UK cinemas back in 2007 and it was then I spoke to Saadi Yacef, who produced and starred in the film. He was one of the leaders of Algeria’s National Liberation Front during his country’s war of independence. Whilst imprisoned by the French, he wrote his memoir of the actual Battle of Algiers, which was published in 1962. After the war Saadi helped produce Gillo Pontecorvo‘s film and he even stars in it as a character based on his own experiences. With its strikingly realistic depiction of modern warfare and terrorism the film has gone on to become highly influential. So much so that the The Pentagon screened it in 2003 as a useful illustration of the problems faced in Iraq. Saadi went on to become a Senator in Algeria’s People’s National Assembly.File Download (17:49 min / 16 MB)

This week, we watch the horrifying, documentary-like masterpiece about the the acts or terror and oppression between the occupying French and the National Liberation Front (FLN) in 1960's Algeria, The Battle of Algiers. Directed by Gillo Pontecorvo.

"It's hard to start a revolution.  Even harder to continue it.  And hardest of all to win it.  But, it's only afterwards, when we have won, that the true difficulties begin.  In short, Ali, there's still much to do." In our post-9/11 world, it's difficult to understand a culture that would be willing to kill innocent people for its cause, and to sympathize with it is downright impossible.  It's confounding that someone made a film in the 1960's about Muslim nationalists that is unbelievably sympathetic to their cause...and, more importantly, makes the viewer feel the same. "The Battle of Algiers" (1965) was directed by Gillo Pontecorvo at a time when Algeria was occupied by France, and the citizens of Algiers found themselves resorting to terrorism to fight for independence.  It's depressing, shocking, and jaw-dropping...to say the least. Have a question or comment for the host?  Email Sean at 1001moviespodcast@gmail.com, follow him on Twitter @1001MoviesPC, and look for the podcast's Facebook page.

On today's show, Lady P is joined by co-producer, Martin Kessler, and Flixwise regular, Kristen Sales, to talk about the 48th film on the Sight and Sound Critics Poll, Gillo Pontecorvo's 1966 feature: The Battle of Algiers. In the years since its release Algiers has become infamous more for its use as a training video rather than its cinematic legacy. It's been cited by everyone from The Black Panthers to the United States Military as a blueprint for both engaging in and combatting guerrilla-style warfare. However, our panel attempts to separate Pontecorvo's initial vision from the thorny political aftermath by focusing more on the film's cinematic sensibilities and directorial choices. We talk about whether Algiers deserves more attention for its artistry, or if it should primary be remembered as an effective piece of agitprop. Then, for the second topic, the panel uses the depictions of bloodshed in The Battle of Algiers as a jumping off point for a wider discussion about violence in cinema. We know what you're thinking: "If you're so against violence, why do you insist on beating this dead horse." While it's true that every time a certain notable genre-masher/foot-fetishist releases a movie we get a fresh flurry of think piece about the wider repercussions of movie violence. But for our discussion we're going to leave the hand-wringing and pearl-clutching to the experts, and talk about instances where we think violence was used effectively. And in case you're wondering, yes, Mr. Tarantino does come up.

The Criterion Collection, the last vestige of truly collectible DVD and Blu-Ray movies in existence. These are well produced, fancy pants editions of important and interesting films for the discerning film lover. We continue our journey through Jim's collection of movies with... The Battle of Algiers Spine Number: 249 Director: Gillo Pontecorvo Genre: Historical/Political Drama The very idea of discussing anything political in today's climate is solidly off putting. What should be a civil exchange of ideas has been reduced to vulgar grandstanding. Instead of sharing information and gaining knowledge people have become more interested in either picking a fight to show how stupid and wrong those who disagree with them are, or to get a solid pat on the back from the adoring chorus of like minded individuals. Ideas that are deemed "incorrect" or "improper," are cast aside and ignored. We, as a people, have become a mob, seeking whatever our minds can process as either truth or justice. Such is the environment that created "The Battle of Algiers." Gillo Pontecorvo's "The Battle of Algiers," is, essentially, the gold standard for historical/political filmmaking. Centering around the events leading up to and following the Algerian war of the 1950's Pontecorvo uses a cinema verite style that is so completely immersive it is easy to forget you are watching a movie, as it could have easily been constructed from newsreel footage. This film does what good discussion should do. It shows both sides. There are no clear cut heroes or villains here. Both sides are shown as both the victim and the perpetrators of unnecessary violence against the innocent. Rather than take sides Pontecorvo instead focuses on the problems inherent in colonialism, the struggles of a people fighting for their independence, and a group upholding their sworn duty. It is not an easy film, but good discussion rarely should be. Essentially, this film is about what happens when you ignore people. Ideas are never wiped out. They hide, they fester, and they spread, but they never really go away. What happens when people who have, what they feel, to be legitimate grievances are ignored? Do they simply forget about it? Or do those ideas find a different way to express themselves. Be warned, we do get political in this show. But that's ok. You may not agree with us. But that, too, is ok. All that we ask, is that you listen to both what we say and how we say it. Nothing we say should upset you. If it does... your refund is in the mail. Next Week: We begin our 5 week John Cassavetes festival with... Spine number 251: Shadows Also, check this out. The Life Masters is now it's own show with its own site and own dedicated feed. That's right, we have two completely different shows! Right now check it out at www.thelifemasters.podbean.com. You can also drink in our brilliance on Youtube for both The Film Thugs and The Life Masters. http://fantasymovieleague.com/ Looks like Summer Movie League has officially become Fantasy Movie League. It looks quite fun. Here's how it works. You have an 8 screen theater. Every week you pick movies and have a budget/salary cap you have to stay under. Then you compete against other theaters in your league. It's fantasy football for movie people. Our league is Film Thugs 2015 and the password is Porterhouse. And remember, you can be a part of the show any time you wild like. How's that? All you have to do is call or e-mail us. If you live in the US, or any place that makes calling the US easy, just dial 512-666-RANT and leave us a voicemail. We will read the Google Voice transcript and play your message. It's both funny AND informative. If you live outside the US you can call us on Skype at The_Film_Thugs. You can leave a message, or someone might actually answer. E-mail us at thefilmthugs@gmail.com and we will read/play whatever you send us, or you can e-mail thugquestions@gmail.com to be part of  an upcoming "Ask the Film Thugs" show, where we answer questions on any subject without having heard them first. Also, we are on twitter @thefilmthugs and on Facebook and Vine. You can also click on one of our sponsor links below and THEY will pay us. That's right. You won't have to pay a PENNY extra, and Amazon/Onnit/Teefury will give us a little taste. Also, be sure to check back often for our new endeavor The Life Masters, where we answer questions to other advice columnists. Thanks for listening, and until next week...

A special episode of the Stinking Pause podcast where Scott and Charlie are joined by our dear friend Mark from The Good The Bad and The Odd Podcast to talk about Gillo Pontecorvo's acclaimed masterpiece, The Battle of Algiers from 1966. You can listen to this and all of our previous episodes at stinkingpause.com Subscribe to the podcast at iTunes and Stitcher Radio Follow us on Twitter    @StinkingPause   Mark's podcasts can be found at http://www.thegoodthebadandtheodd.com/ and  https://unitednationsofhorror.wordpress.com/ Thanks Mark...we'll see you in the New Year for all things Michael Caine Thanks for listening Scott and Charlie

GILLO PONTECORVO raccontato da Giuliano Montaldo

This week, we burn, baby, burn with Gillo Pontecorvo's follow-up to The Battle of Algiers; Burn! (aka Quemada) from 1969. It is another ambitious film tackling colonialism, racism, economic exploitation and the great rum vs. whisky debate. Were we rewarded with another masterpiece by Pontecorvo or did we leave feeling a little burned? Tune in to find out. Join our Facebook group. We'd love to hear from you. 206-350-9002 marriedwithclickers@gmail.com

Descripción de este programa: + Noticias + Curiosidades + Tema y debate: Independencia de Argelia y Egipto. Comparativa. + Crítica: Película "La batalla de Argel", de Gillo Pontecorvo ...Y un poco de rock

Descripción de este programa: + Noticias + Curiosidades + Tema y debate: Independencia de Argelia y Egipto. Comparativa. + Crítica: Película "La batalla de Argel", de Gillo Pontecorvo ...Y un poco de rock

regia di Gillo Pontecorvo