Podcasts about Rossellini

Pour accompagner le vrai retour du printemps mais aussi pour célébrer sa carte blanche à la Cinémathèque Française dans le cadre du programme “Parlons cinéma”, nous avons eu le bonheur de mener une discussion tambour dansant avec Patric Chiha.Cinéaste dont la cinéphilie est née dans les vieilles salles de cinéma de la capitale Autrichienne, il se remémore quelques découvertes adolescentes fondamentales (Paris is Burning, les films de Derek Jarman) et égraine avec nous ses obsessions de spectateurs et de cinéastes (ce qui est la même chose) : la fête, les costumes, l'attente, l'hybridation entre documentaire et fiction…Alors enfilez vos plus beaux costumes et laissez vous guider de la Sicile de Rossellini (Voyage en Italie) jusqu'aux confins de la Russie (D'est) avant de rentrer à la maison (Simone Barbès ou la vertu) Nous remercions notre invité Patric Chiha ainsi que Melanie Haoun et Xavier Jamet de la Cinémathèque mais aussi Elodie Imbeau et Pierre Senechal sans qui cet entretien n'aurait pu se faire. Inscrivez-vous à la newsletter en cliquant sur ce lien : https://forms.gle/HgDMoaPyLd6kxCS48 Pour nous soutenir, rendez-vous sur https://www.patreon.com/cinephilesdnt I. PORTRAIT - 4'49 Un corps au cinéma : celui d'Ingrid Bergman dans Voyage en Italie (R. Rossellini, 1954) - 4'49 Des costumes au cinéma : les tenues dans Paris is Burning (J. Livingston, 1990) - 7'24 Un décor ou une lumière au cinéma : Edward II et Blue (Derek Jarman) - 12'44 II. LE CINEMA DANS TOUS SES ETATS - 18'51 Une film à voir la nuit : Sleep (Andy Warhol, 1963) Un film de transe : Passage à l'acte (Martin Arnold, 1993) Un film pour apprendre à attendre - Où est la maison de mon ami (A. Kiarostami, 1987) - 26'44 Un film pour rentrer à la maison - Simone Barbès ou la vertu (M-C Treilhou, 1980) - 30'26 CARTE BLANCHE - 35'36D'Est (Chantal Akerman, 1993) CINEMA & TRANSMISSION - 42'57 Un film pour penser l'amour et la solitude : France (B. Dumont, 2021) Un film pour penser l'hybridation documentaire-fiction : Tous les autres s'appellent Ali (R.W Fassbinder, 1974) - 48'09 REFUGELe rayon vert (E. Rohmer, 1986)Pink Flamingos (J. Waters, 1972) EXTRAITS Extrait de "Deep in Vogue (12'' Video Version)" interprété par Malcolm McLaren & The Bootzilla Orchestra, © 1989 Epic Records, tous droits réservés. Extrait audio tiré de "D'est" (1993), un film de Chantal Akerman. © Chantal Akerman Foundation. Tous droits réservés. CRÉDITSPatreons : un grand merci à Mahaut, Paul et Clara pour leur soutien !Musique : Gabriel RénierGraphisme : Lucie AlvadoCréation & Animation : Phane Montet & Clément Coucoureux

Sean Baker e il suo "Anora" la fa da padrone e nella 97esima edizione degli Oscar si porta a casa cinque statuette per film, regia, sceneggiatura, montaggio, e miglior attrice protagonista alla venticinquenne Mikey Madison. Adrien Brody è il miglior attore, Kieran Culkin e Zoe Saldana i migliori non protagonisti.

Tras la muerte del Papa, el decano del Colegio Cardenalicio debe liderar un cónclave para escoger al sucesor del sumo pontífice, investigando las vidas y los secretos de los candidatos con mayor favoritismo. Basado en la novela homónima de Robert Harris, este nuevo largometraje de Edward Berger ("Sin novedad en el frente") cuenta con ocho nominaciones a los premios Oscar, incluyendo mejor película, Ralph Fiennes como mejor actor principal, e Isabella Rossellini como mejor actriz de reparto en la primera nominación que recibe para estos premios en su carrera. Ya disponible en salas de cine.

La rassegna di oggi, martedì 11 febbraio, è a cura di Marica Fantauzzi   - Su Repubblica la protesta del collettivo studentesco del Rossellini: sospeso l'incontro con il Senatore di FDI Roberto Menia in occasione della Giornata del Ricordo. «La scuola, in una democrazia, a differenza dei regimi, non è il luogo in cui si fa propaganda politica, ma è invece il luogo in cui si rende le persone libere di farsi una propria coscienza politica». - Sul Corriere presentato ai sindacati un documento dell'Ama per redistribuire il personale: viene denunciato l'assenteismo che però, secondo i sindacati, nulla ha a che fare con la mancata garanzia del servizio. -  Quarticciolo: il Tempo pubblica un editoriale commosso ma non commovente dedicato al modello Caivano e alle sue (dubbie) potenzialità. Nel frattempo, la sinistra parlamentare invita Walter Veltroni a parlare di sicurezza in città. Ma c'è chi, come Santoro sul Manifesto, ricorda la sua campagna securitaria da sindaco di Roma.   -  Lettera di Alba Rohrwacher e Saverio Costanzo per salvare i cinema a Roma guardando al modello parigino. -  Chiude l'ennesima libreria indipendente a Roma: Bookish saluta la città.  Foto di Luca DammiccoSveja è un progetto sostenuto da Periferiacapitale, il programma per Roma della fondazione Charlemagne. Ringraziamo inoltre l'associazione A Sud che ci mette a disposizione i propri spazi per le riunioni di redazione.La sigla di Sveja è di Mattia CarratelloA domani con Cecilia Ferrara

This political thriller was directed by Edward Berger, is based on the 2016 novel by Robert Harris of the same name and stars Ralph Fiennes, Isabella Rossellini, Stanley Tucci, John Lithgow & Sergio Castellitto. In this film, after the sudden death of The Pope, a conclave is organized by The Dean, who manages to summon a handful of worthy successors. However, on the Eve of the Conclave, many accusations & stories begin to circulate surrounding the chosen candidates which then spark heated debates on who shall be the next Pope. This film debuted at the Telluride Film Festival in August of 2024 before hitting theaters nationwide later in the year in October. The film has already received 8 Academy Award nominations including Best Picture, Best Actor for Fiennes and Best Supporting Actress for Rossellini.

Another mind bending podcast. The day David Lynch passed, I felt like I heard him say "So why didn't you interview me?"  I kind of chuckled to myself - thinking, "Of people I know, who knew David that well?"  I haven't seen all his films - just a few, so I missed the many Harry Dean Stanton appearances. As fans of the podcast know, I knew Harry Dean, played guitar with him, he was close friends with Luana Anders (who passed in 1996) and when Harry Dean passed, we interviewed him.  He has shown up a number of times, also with Billy Paxton, whom I started me career with, and with whom Billy and Harry worked on "Big Love" together. So "any friend of Harry's is a friend of mine" - in terms of how we are able to communicate with people offstage.  In this instance, I started to ask Jennifer if David had been the person I heard saying "Why didn't you interview me?" and before I could ask it - she said "He is." It's on camera. I thought it, started to speak; she answered it. That's how this works. Jennifer and I have been doing this together for ten years - every week, if one can imagine. And this time, all this past week I've been hearing "messages" from Mr. Lynch. Some examples; my son suggested we go and see "Inland Empire" at the Egyptian.  Two people in the audience told me afterwards that they saw him "sitting off to the side" - exactly where he says he was, in the last ten minutes of the film. It's when Laura Dern's character merges with her "old self" in the film.  A bright light appears as they embrace.  That's when these two said they saw him in the theater. It's not my opinion they saw him - it's not my belief they saw him - I asked, and he said that "indeed, he was there at the theater, and that he was surprised more people didn't realize it." David was an early proponent of Transcendental Meditation - something he learned from Maharishis Mahesh Yogi - the same fellow from Rishikesh that the Beatles went to visit. In one of his interviews (that I watched this week after hearing from him) he said that he had met MMY and learned TM from him. And since then he would meditate twice a day. As he said in an interview, "once in the morning" and once during the lunch hour. Also, I learned that he went to Bob's Big Boy in Burbank (a fan favorite for my family) and every day at 2:30 would have a "malted and a cup of coffee."  Sometimes he'd add fries. So we went to Bob's and saw the huge display of memorabilia people have deposited in his honor - as well as saw there was an hour wait to sit at the counter. So we moseyed on down to Paty's - where we were able to sit at the counter and get our milkshakes, coffee and fries. We sat next to two David devotees - people who had met at Disneyland and become pals over David, and were doing the same thing we were doing. And we talked about David and we talked about this podcast... that I had yet to do. I told them to "tune in this week and we'll see if we can get him to come by."  So a shout out to Derek and Sharon who are fans of Mr. Lynch. It's an unusual event to be sure - people are spontaneously honoring him, not for any other reason than they were moved by him, or learned something from him. Also, Jennifer did not know David's work - as she notes in the podcast. So she didn't know - couldn't know - that David's nickname for Laura Dern was "tidbit" - his nickname for Naomi Watts was "buttercup" - nickname for Patricia Arquette was "Solid Gold" - his old pal Jack Fisk is married to Sissy Spacek, Isabella was the Oscar nominee - Ms. Rossellini - and his nickname for Kyle MacLachlan was "Kale" (because producer Dino de Laurentiis couldn't pronounce Kyle on "Dune") -I forgot to ask him if he'd seen Dino yet, but as he said "I've seen them all." He had a message for "Doug and Steve Martin" who directed his short promo for "Eraserhead"  and the Woody Woodpecker dolls... He mentioned talking to Dennis Hopper (Luana's pal) Dean Stockwell (whom I directed in the film LIMIT UP) and Bill Paxton (who I met while he was doing Aliens and we wrote a script together.) He had messages for Steven Spielberg and Mel Brooks - all pals of his, and for his family "I had the ride of my life and I can't wait to do it again!" - For those coming to this podcast for the first time, I recommend looking over the past three years of online podcasts, looking at the transcripts of the 7 years prior to that in the books TUNING INTO THE AFTERLIFE and BACKSTAGE PASS TO THE FLIPSIDE 1, 2 and 3.   Jennifer and I have been doing this weekly for ten years.  If one wants to book a session with Jennifer, find her at JenniferShaffer.com - and if one wants to book a meditation (visit to their council) with me, go to RichardMartini.com and follow the links.   But as David said; all you need is a shake, some fries and a coffee to talk to him.  Enjoy. He said something fun and 

Il film francese "Emilia Perez" ottiene 13 nomination agli Oscar, mentre Isabella Rossellini viene candidata per la prima volta come migliore attrice protagonista. Cosa dicono queste nomine sugli Stati Uniti della "nuova era Trump"? Trump che ha parlato a Davos, con reazioni dall'Europa - su dazi e digitale - che leggiamo sui giornali. Dove si analizzano anche gli ultimi elementi emersi sul caso del generale libico Almasri, liberato dopo l'arresto e rimandato in Libia "poiché pericoloso". Posizione per cui il Governo viene criticato da opposizioni e Corte penale internazionale. 

Good evening, Mr. and Mrs. America and all ships at sea, and welcome to Episode 57 of Vintage Sand, our first of 2025. In this episode and the next one we return, for the penultimate time, to the source of some of our most popular episodes: Danny Peary's hard-to-find 1993 classic "Alternative Oscars". In the past, we have used Peary's model to approach every full decade in which the Academy has handed out Oscars except two: the 2010's, and the topic for this two-part episode, Alternate Oscars: The 1940's Edition. It's interesting that the 40's are considered to be the peak of Hollywood's Golden Age, yet many films that were beloved and honored back then have not well withstood the passage of time. The early part of the decade's most important development was the rise of the writer/director in Hollywood. Preston Sturges was the first, with his incredible run of films from 1940-1945, and he was followed quickly by the Billy Wilder/Charles Brackett team and, of course, that clever young fellow from the Mercury Theater. The 40's also marked the arrival of Hitchcock to these shores, and the rise to prominence of new directorial voices like Huston, Preminger, Zinnemann and Nicholas Ray. There were also many high points in the decade for well-established directors like Ford, Capra, Hawks, Lubitsch and Wyler. We have the incredible run of films between 1942 and 1946 made by Val Lewton's brilliant B-movie unit at RKO, and, of course, the birth of film noir, overseen predominantly by expats like Wilder, Lang, Preminger, Ulmer, Lewis and Siodmak. The latter half of the decade, which we will cover in Episode 58 in February, saw two major developments. The end of the war saw the return to strength of many European film industries as well as studio filmmaking in Japan. In France, in the wake of 1945's miraculous "Les Enfants du Paradis", directors as different as Cocteau, Clouzot and Bresson began or restarted their careers. This explosion of creativity was matched in the UK, with the arrival of Lean, Reed, and especially with the flowering of the Powell-Pressburger Archers team. Clearly, though, the most important such event was the rise of what today is called Italian Neo-Realism, as directors like Rossellini, De Sica, and to a lesser extent Visconti, created a brand new way to tell stories on film that is still influencing directors today. The second big change of the late 40's was really two changes in one: the landmark Paramount court case in 1948 that ended the vertical monopoly the studios had long held as owners of theater chains as well, and the mass arrival of television. Between 1948 and 1952, Hollywood lost nearly half of its audience, bringing down the curtain on that so-called “Golden Age” of Hollywood. In terms of the Oscars, the Academy made solid choices for Best Picture--they certainly picked better films than they did in the 1930's! These included enduring works like "The Best Years of Our Lives", "All the King's Men" and especially, "Casablanca". Who could argue with that? (Hint: us.) But there were plenty of head scratchers as well. Prestige choices like "How Green Was My Valley", "Mrs. Miniver" and Olivier's "Hamlet" look a little creaky these days. Hell, we might argue that "Rebecca" was not even Hitchcock's best film of 1940! And the less said about "Going My Way" and "Gentlemen's Agreement", the better. So kick back, round up the usual suspects, and help us make this podcast more important than the gas in that light…

Tra novembre e dicembre 2024 diversi istituti di secondo grado a Roma sono occupati. Albertelli, Cavour, Manara, Morgagni, Russell, Newton, Carducci, Plinio Seniore, Enzo Rossi, Virgilio, Montessori, Rossellini, Visconti, Socrate. Tra le ragioni che motivano i ragazzi i tagli dei fondi a istruzione e ricerca e l'investimento in armi e il nuovo decreto sicurezza.Se all'Albertelli l'occupazione si conclude con una co-gestione concordata con la dirigente scolastica, in altre scuole gli studenti affrontano annullamento delle gite d'istruzione, sospensioni, denunce. Alcuni studenti dell'Albertelli, del Visconti e del Cavour raccontano i giorni di occupazione, le motivazioni che hanno animato le loro proteste, e attraverso queste, restituiscono le proprie visioni e aspirazioni, così come il rapporto con le istituzioni scolastiche, gli spazi di riflessione e dialogo che hanno a disposizione o che vorrebbero creare, e il rapporto con le famiglie, che sarà poi raccontato nella seconda puntata dal punto di vista dei genitori in una puntata curata da Marzia Coronati. Occuparsi – parte I è un fuori porta realizzato da Arianna Scarnecchia.La ricerca è nata insieme a Marzia Coronati, che curerà la seconda parte. Sono intervenuti Anita, Ernesto, Nadine, Riccardo e Valeria, che ringraziamo.La foto è di Anita.Sveja è un progetto sostenuto da Periferiacapitale, il programma per Roma della Fondazione Charlemagne e da Lush. 

En el cine, el año nuevo es soledad y remordimiento: aunque no se quiera, inevitablemente está presente lo que no se hizo y lo que no se vivió. Una película de 2008 representa como ninguna esos sentimientos: "Dos amantes" de James Gray, con Joaquin Phoenix y Gwyneth Paltrow en los roles protagónicos. Una historia en que todo pasa de fondo, todo salvo esa soledad y ese remordimiento.

Pierre Lescure reçoit un mythe. C'est avec la sortie du film "Conclave" que Isabella Rossellini fait l'honneur de Beau geste par sa présence.

On Episode 140 of Floating Through Film, we conclude our series picked by Dany, Roberto Rossellini! Dany starts the episode with various discussions on Rossellini's art and method, including a discussion on his use of the zoom lens. We then review the two films for this week, 1972's Blaise Pascal (53:53), and 1975's The Messiah (1:58:58). Episode Next Week: FTF Chain-Draft Music: - Intro: from Blaise Pascal - Break: The Messiah - Outro: The Messiah Hosts: Luke Seay (LB: https://letterboxd.com/seayluke/, Twitter: https://x.com/luke67s) Blake Tourville (LB: https://letterboxd.com/blaketourville/, Twitter: https://x.com/vladethepoker) Dany Joshuva (LB: https://letterboxd.com/djoshuva/, Twitter: https://x.com/grindingthefilm) Podcast Links (Spotify and Apple): https://linktr.ee/floatingthroughfilm Letterboxd: https://letterboxd.com/floatingfilm/ Email: floatingthroughfilm@gmail.com

Although her father was director Roberto Rossellini and her mother was actress Ingrid Bergman, Isabella Rossellini had little desire to work in the film industry when she arrived in New York City at 19 years old. She was sure that fashion was her calling—and by her late 20s, a few years after studying costume design at Manhattan's Finch College, she was appearing as a model in magazines such as Vogue and Interview. Not long after, Rossellini decided to join the family business: she was cast in her first American film in the early 1980s, before starring in David Lynch's haunting 1986 thriller, "Blue Velvet." Over the last few decades, Rossellini has only further demonstrated the breadth of her talent, working as a producer and director while still modeling and acting, most recently in the papal drama "Conclave," in which she co-stars alongside Ralph Fiennes, Stanley Tucci, and John Lithgow. On this week's episode of "Table for Two," the actress joins host Bruce Bozzi to discuss her relationship to her parents' work, how her style has changed with age, and why she went back to school in her mid-50s.See omnystudio.com/listener for privacy information.

On Episode 139 of Floating Through Film, we continue our series picked by Dany, Roberto Rossellini! Dany starts the episode with a discussion on Rossellini's shift to "Historical Neorealism". We then review the two films for this week, 1966's he Taking of Power by Louis XIV (45:37), and 1971's Socrates (1:42:38) Episode Next Week: Blaise Pascal + The Messiah Music: - Intro: from he Taking of Power by Louis XIV - Break: Socrates - Outro: Socrates Hosts: Luke Seay (LB: https://letterboxd.com/seayluke/, Twitter: https://x.com/luke67s) Blake Tourville (LB: https://letterboxd.com/blaketourville/, Twitter: https://x.com/vladethepoker) Dany Joshuva (LB: https://letterboxd.com/djoshuva/, Twitter: https://x.com/grindingthefilm) Podcast Links (Spotify and Apple): https://linktr.ee/floatingthroughfilm Letterboxd: https://letterboxd.com/floatingfilm/ Email: floatingthroughfilm@gmail.com

durée : 00:05:41 - C'est une chanson - par : Frédéric Pommier - Jusqu'au 24 novembre, elle joue "Le sourire de Darwin" à la Scala à Paris, spectacle qu'elle donnera ensuite en tournée. Au micro de Frédéric Pommier, Isabella Rossellini évoque "Blue Velvet", la chanson qui a donné son titre au film de David Lynch dans lequel elle tient l'un des rôles principaux.

On Episode 138 of Floating Through Film, we continue our series picked by Dany, Roberto Rossellini! Dany starts the episode with a discussion on what it means to say that Rossellini's camera explores the "enigmatic rapport between people and the world: how people relate to landscape, to each other, to the transcendent. (Bergala)". He then relates this to a discussion on Rosselini's thoughts on acting, and how actors should be used in film (21:43). We then review the two films for this week, 1950's The Flowers of St. Francis (40:38), and 1959's India: Matri Bhumi (1:40:37). Episode Next Week: The Taking of Power by Louis XIV + Socrates Music: - Intro: from The Flowers of St. Francis - Break: India: Matri Bhumi - Outro: India: Matri Bhumi Hosts: Luke Seay (LB: https://letterboxd.com/seayluke/, Twitter: https://x.com/luke67s) Blake Tourville (LB: https://letterboxd.com/blaketourville/, Twitter: https://x.com/vladethepoker) Dany Joshuva (LB: https://letterboxd.com/djoshuva/, Twitter: https://x.com/grindingthefilm) Podcast Links (Spotify and Apple): https://linktr.ee/floatingthroughfilm Letterboxd: https://letterboxd.com/floatingfilm/ Email: floatingthroughfilm@gmail.com

On Episode 137 of Floating Through Film, we continue our new series picked by Dany, Roberto Rossellini! Dany starts the episode with a continuation of last week's discussion on what the term "neorealism" could possibly mean, specifically diving into what neorealism as a term meant to Rossellini personally. We then dive into two of the films he made with Ingrid Bergman, 1952's Europe '51 (40:01), and 1954's Voyage in Italy (1:44:54) Episode Next Week: The Flowers of St. Francis + India: Matri Bhumi Music: - Intro: from 'Europe 51 - Break: Voyage in Italy - Outro: Voyage in Italy (https://open.spotify.com/track/6jlU8q483EFuTmW41wcifK) Hosts: Luke Seay (LB: https://letterboxd.com/seayluke/, Twitter: https://x.com/luke67s) Blake Tourville (LB: https://letterboxd.com/blaketourville/, Twitter: https://x.com/vladethepoker) Dany Joshuva (LB: https://letterboxd.com/djoshuva/, Twitter: https://x.com/grindingthefilm) Podcast Links (Spotify and Apple): https://linktr.ee/floatingthroughfilm Letterboxd: https://letterboxd.com/floatingfilm/ Email: floatingthroughfilm@gmail.com

Algunos dicen que es la figura más completa que ha dado el cine italiano. Fue actor, director, guionista y productor y está considerado junto a Rossellini el padre del Neorrealismo italiano. El día 13 de noviembre se cumplen 50 años de la muerte de Vittorio De Sica y en este episodio le rendimos homenaje. “Los siete magníficos” es el western que Jack Bourbon nos trae esta semana en “Diligencia hacia el Oeste”; charlamos con el director Ramón Térmens que acaba de estrenar la película “Sociedad negra” y, a pocos días de que se estrene la muy esperada “Gladiator 2”, nuestra “Enciclopedia curiosa del cine” le da un repaso al cine de gladiadores.

Join us for an engaging and heartfelt journey through Italian American heritage and filmmaking. We were lucky to have this fascinating discussion with filmmakers Mary Lou and Jerome Bongiorno. In this podcast, they each shared their rich Italian roots, tracing back to the Veneto region and connections to Shakespeare's "Romeo and Juliet." The conversation also explores the distinct Italian communities within Newark, New Jersey, and their cultural nuances. Most importantly though this conversation navigates the world of Italian cinema and its profound cultural impact. Reflecting on the Newark Riots Rebellion of 1967, the discussion shifts to the brilliance of legendary Italian filmmakers like Federico Fellini, Antonioni, Rossellini, and Pasolini. Their works continue to inspire and shape contemporary cinema. The conversation also touches on the humanity of canonized saints, such as Elizabeth Ann Seton and Mother Cabrini, shedding light on their personal struggles and remarkable achievements. In the final chapters, we explore family secrets and cultural expectations, examining how societal pressures shaped personal histories, particularly among the World War I and II generations. The conversation shifts to the impact of family dynamics in Italian-American filmmaking, focusing on Martin Scorsese's relationship with his mother, Catherine. We discuss the broader significance of authentic representation in Italian-American media, moving beyond stereotypical portrayals to highlight diverse stories and achievements. Finally, we share insights from our recent filming experience in Sicily, capturing the evolving landscape of Italian society through unique narratives. Join us for this rich tapestry of stories, culture, and history. --- Support this podcast: https://podcasters.spotify.com/pod/show/italianamerican/support

Tous les week-end, découvrez de courtes histoires d'amours, tendres ou percutantes, pour engager de vraies réflexions sur l'amour. Leur union fût une des plus critiquées de l'histoire du cinéma. Une passion inattendue et intense, entre une superstar d'Hollywood et un réalisateur engagé. Pour eux, aimer c'est scandaliser. Bousculer la morale et s'affranchir des codes du cinéma. Une histoire de spaghettis, de télégramme et de paparazzis. Une histoire d'amour. Un podcast Bababam Originals. Date de première diffusion : 10 octobre 2019 Learn more about your ad choices. Visit megaphone.fm/adchoices

Una giuria piena di critici in un'annata molto cattolica finisce per premiare il film di André Cayatte Giustizia è fatta, superando film oggi molto più considerati come Francesco, giullare di Dio, Giungla d'asfalto e Cenerentola. Un podcast a cura di Gabriele Niola e Bianca Ferrari, prodotto da Gabriele Niola

durée : 00:57:25 - Toute une vie - "Rossellini m'a appris, écrira Truffaut, qu'un bon scénario doit tenir en douze pages, qu'il faut filmer les enfants avec plus de respect que n'importe quoi, que la caméra n'a pas plus d'importance qu'une fourchette et qu'il faut se dire avant chaque tournage : "Je fais ce film ou je crève".

Ep. 257: The Nitrate Picture Show 2024 with David Schwartz Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. The Nitrate Picture Show takes place every year in Rochester, New York, at the George Eastman Museum, projecting movies from nitrate prints. The resulting super-vivid images create a movie-going experience that can be, in the words of my guest, programmer David Schwartz, “life-changing.” I asked Schwartz about some of his highlights at this increasingly popular festival, including The Good Fairy (directed by William Wyler), Meet Me in St. Louis (Vincente Minnelli), Intolerance (D.W. Griffith), and The Strawberry Blonde (Raoul Walsh). We also talked about films that offered something a little different such as the documentary The Plow That Broke the Plains (Pare Lorentz), the experimental parody Tomato's Another Day (James Sibley Watson), Homecoming (Hideo Oba), and Rossellini's Germany Year Zero. Plus: rare Lubitsch (From Mayerling to Sarajevo) and Renoir's A Day in the Country. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Aprovechamos el estreno de la película de la hija del rey del terror moderno, M. Night Shyamalan, que debuta con "Los vigilantes" y de la hija de la Oscarizada directora Jane Campion, "Mala conducta", para recordar qué hijos han decidido seguir los pasos de sus padres o madres y ponerse a dirigir. Los Coppola, Rossellini, Trueba, Cuarón... son algunos de los nombres que componen la lista que nos ha ayudado a hacer Javier Ocaña. También ha tenido tiempo para comentar "Vidas perfectas" 

This week, we're talking about 'La chimera', directed by Alice Rohrwacher and starring Josh O'Connor and Isabella Rossellini. The film follows a band of graverobbers on a quest for Etruscan treasures. But there's also a darker, more melancholy plot that makes you question what's real and what's symbolism. The FT's global head of audio Cheryl Brumley and audience engagement journalist Marianna Giusti join guest host Katya Kumkova to hash out what it all means.-------We love hearing from you. Lilah is on Instagram @lilahrap. We're on X @lifeandartpod and on email at lifeandart@ft.com. We are grateful for reviews on Apple and Spotify. And please share this episode with your friends!-------Links (all FT links get you past the paywall): – The FT's four-star review of La chimera, by Danny Leigh: https://on.ft.com/3UZLo6z – An interview with filmmaker Alice Rohrwacher, by Simran Hans: https://on.ft.com/3WEiUk3 – For more Italian summer content, check out Mari Giusti's ‘Postcard from Sicily': https://on.ft.com/3K8TZgM – Cheryl Brumley is on X @cherylbrumley. Marianna Giusti is @maupippa. More or Less:– Cheryl wants more Eurovision – Katya wants to see more smell art. Check out this piece on The Met exhibition ‘Sleeping Beauties: Reawakening Fashion': https://on.ft.com/3wu62lY – Mari wants more Isabella Rossellini, and recommends ‘Green Porno'. Here's Rossellini's Lunch with the FT from 2018: https://on.ft.com/4bERe2D -------Special FT subscription offers for Life and Art podcast listeners, from 50% off a digital subscription to a $1/£1/€1 trial, are here: http://ft.com/lifeandart-------Original music by Metaphor Music. Mixing and sound design by Breen Turner and Sam GiovincoRead a transcript of this episode on FT.com Hosted on Acast. See acast.com/privacy for more information.

durée : 00:58:28 - Toute une vie - par : Anaïs Kien - "Rossellini m'a appris, écrira Truffaut, qu'un bon scénario doit tenir en douze pages, qu'il faut filmer les enfants avec plus de respect que n'importe quoi, que la caméra n'a pas plus d'importance qu'une fourchette et qu'il faut se dire avant chaque tournage : "Je fais ce film ou je crève".

Jackie and Greg take a drive to Naples for Roberto Rossellini's JOURNEY TO ITALY from 1954. Topics of discussion include the film's minimalism, its frank treatment of a marriage on the rocks, Rossellini's scandalous affair with star Ingrid Bergman, and its influence on all of the "break-up films" that came afterwards, #41 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#72 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: https://www.instagram.com/sceneandheardpodCheck us out at our official website: https://www.sceneandheardpod.comJoin our weekly film club: https://www.instagram.com/arroyofilmclubJP Instagram/Twitter: jacpostajGK Instagram: gkleinschmidtGraphic Design: Molly PintoMusic: Andrew CoxEditing: Greg KleinschmidtGet in touch at hello@sceneandheardpod.comSupport the Show.Support the show on Patreon: patreon.com/SceneandHeardPodorSubscribe just to get access to our bonus episodes: buzzsprout.com/1905508/subscribe

One of the stone cold classics of cinema this week as we all watch our first Rossellini movie together and come away deeply impressed. Sometimes a movie is just a classic for a reason! Check out our letterboxd list if you'd like to see all the movies covered that way! Send us any email questions and comments about the movies we cover or movies in general to abnormalmappingpodcast@gmail.com! Also, we're a patreon supported show, please go to patreon.com/abnormalmapping to see our many shows and support us.Next Time on Repertory Screenings: Deep Cover

Un ciudadano inglés, con un peculiar don para encontrar sitios arqueológicos, lidera a un variopinto grupo de ladrones de tumbas en Italia. El esperado cuarto largometraje de Alice Rohrwacher ("Lazzaro feliz") ha recibido numerosos elogios de la crítica y el público. El inglés Josh O'Connor destaca en el rol principal, el melancólico Arthur, en un reparto donde también se lucen Carol Duarte e Isabella Rossellini. Ya disponible en algunas salas del país.

durée : 01:00:15 - Entendez-vous l'éco ? - par : Tiphaine de Rocquigny - Comment Rossellini, qui vécu sous la période fasciste, devint-il l'un des pionniers du néo-réalisme au sortir de la Seconde Guerre mondiale ? Comment s'est-il évertué à filmer les conditions de vie des italiens, tant sous l'occupation que durant la reconstruction et l'exode rural des années 1950 ? - invités : Aurore Renaut Maîtresse de conférences en études cinématographiques et audiovisuelles, spécialiste du cinéma italien; Marie-Anne Matard-Bonucci Universitaire française, chercheuse à l'Institut français de géopolitique

durée : 00:57:55 - Affaires culturelles - par : Arnaud Laporte - En seulement quatre films, Alice Rohrwacher est devenue la digne héritière des plus grands cinéastes italiens, de Fellini à Rossellini. Son nouveau film, "La Chimère", dresse un portrait de pilleurs de tombes étrusques. Rencontre avec une réalisatrice qui compte. - invités : Alice Rohrwacher Réalisatrice

durée : 02:58:47 - Le 7/10 - par : Nicolas Demorand, Léa Salamé, Sonia Devillers, Anne-Laure Sugier - Dans le 7/10 du jour : Denis Olivennes, nouveau président d'Editis, Pierre Servent, Wassim Nasr et Olivier Rafowicz, un débat : Après un mois de crise au Proche-Orient, photographie du paysage politique français, l'actrice Isabelle Rossellini et la réalisatrice Héléna Klotz.

Visit our WATCH PAGE to rent or purchase movies we've talked about on the show. By doing so, you get to watch the movie and help us out in the process as a portion comes back our way. All of the movies from our current season are in there, and we're continuing to add more from our back catalog. Enjoy!Want to upgrade your Letterboxd account? Use our promo code to get a discount and help us out in the process!“We're fighting for something that has to be, that can't help coming. The road may be long and hard, but we'll get there and we'll see a better world. And our children especially will see it.”Rome Wasn't Built in a Day, But This Movie Sure WasRome, Open City is adapted from a book of true stories about living through the Nazi occupation. Co-writer and director Roberto Rossellini took these tales of survival and wove them into a gripping drama about the Italian resistance. Filmed using non-professional actors and real Roman locations, the movie has a gritty, documentary feel. Join us – Pete Wright and Andy Nelson – as we conclude our series on the nominees of the 1947 Academy Awards for ‘Best Writing, Screenplay' with Rossellini's iconic 1945 film Rome, Open City. Reel Talk on Real LifeWe unpack this landmark of Italian neorealism that was filmed on the war-torn streets of Rome just months after the Nazi occupation ended. The filmmakers wanted to capture the rawness of life during wartime. Iconic scenes like Pina's death as she runs after the Nazi truck became cinematic landmarks. The movie birthed a whole movement in Italian neorealism.Women Navigating Impossible ChoicesPina, played unforgettably by Anna Magnani, is the fiancée of resistance fighter Francesco. Her violent death scene is one of the film's most wrenching moments. Dancer Marina gets caught up spying for the Nazis in exchange for drugs and fur coats. We see how she becomes compromised and is discarded when no longer useful. German officer Ingrid manipulates Marina through addiction. She represents the female face of Nazi villainy and moral corruption.War's Impact on the Next GenerationThe tragedy of the film is how war devastates the lives of children like Pina's son and the street boys who witness Pietro's death. Yet the image of these boys resolutely marching back into the city provides a hopeful note that the youth may lead Italy to a better future.Enduring Classic Is BornRome, Open City packs an emotional punch that holds up decades later. It's essential viewing for anyone interested in Italian cinema or World War II stories. This landmark film demonstrates how constraints can breed art and truth. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership. Watch this on Apple or Amazon, or find other places at JustWatch Script Options Theatrical trailer Poster artwork Flickchart Letterboxd (00:00) - Welcome to The Next Reel • Rome, Open City (01:45) - Script Origins and Size (05:52) - What Is an 'Open City'? (07:19) - Ticking Clock (10:40) - Nazi Portrayals (14:30) - Pina and the Resistance (16:12) - Shooting Style and the Story (20:13) - Italian Neo-Realism (24:30) - Within a Year of the War... Too Soon? (28:45) - Giorgio, Francesco, and Marina (35:26) - Don Pietro (37:50) - The Children (39:38) - Pina's Son and Francesco (42:37) - The Nominees (50:46) - Credits (52:39) - Trilogy (54:07) - Awards (54:50) - The Box Office (56:06) - Last Thoughts (56:59) - Coming Next Week • Death of a Salesman (59:52) - Letterboxd (01:02:35) - Wrap Up Learn more about the WGA strike here. Learn more about the SAG-AFTRA strike here.

Visit our WATCH PAGE to rent or purchase movies we've talked about on the show. By doing so, you get to watch the movie and help us out in the process as a portion comes back our way. All of the movies from our current season are in there, and we're continuing to add more from our back catalog. Enjoy!Want to upgrade your Letterboxd account? Use our promo code to get a discount and help us out in the process!“We're fighting for something that has to be, that can't help coming. The road may be long and hard, but we'll get there and we'll see a better world. And our children especially will see it.”Rome Wasn't Built in a Day, But This Movie Sure WasRome, Open City is adapted from a book of true stories about living through the Nazi occupation. Co-writer and director Roberto Rossellini took these tales of survival and wove them into a gripping drama about the Italian resistance. Filmed using non-professional actors and real Roman locations, the movie has a gritty, documentary feel. Join us – Pete Wright and Andy Nelson – as we conclude our series on the nominees of the 1947 Academy Awards for ‘Best Writing, Screenplay' with Rossellini's iconic 1945 film Rome, Open City. Reel Talk on Real LifeWe unpack this landmark of Italian neorealism that was filmed on the war-torn streets of Rome just months after the Nazi occupation ended. The filmmakers wanted to capture the rawness of life during wartime. Iconic scenes like Pina's death as she runs after the Nazi truck became cinematic landmarks. The movie birthed a whole movement in Italian neorealism.Women Navigating Impossible ChoicesPina, played unforgettably by Anna Magnani, is the fiancée of resistance fighter Francesco. Her violent death scene is one of the film's most wrenching moments. Dancer Marina gets caught up spying for the Nazis in exchange for drugs and fur coats. We see how she becomes compromised and is discarded when no longer useful. German officer Ingrid manipulates Marina through addiction. She represents the female face of Nazi villainy and moral corruption.War's Impact on the Next GenerationThe tragedy of the film is how war devastates the lives of children like Pina's son and the street boys who witness Pietro's death. Yet the image of these boys resolutely marching back into the city provides a hopeful note that the youth may lead Italy to a better future.Enduring Classic Is BornRome, Open City packs an emotional punch that holds up decades later. It's essential viewing for anyone interested in Italian cinema or World War II stories. This landmark film demonstrates how constraints can breed art and truth. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership. Watch this on Apple or Amazon, or find other places at JustWatch Script Options Theatrical trailer Poster artwork Flickchart Letterboxd (00:00) - Welcome to The Next Reel • Rome, Open City (01:45) - Script Origins and Size (05:52) - What Is an 'Open City'? (07:19) - Ticking Clock (10:40) - Nazi Portrayals (14:30) - Pina and the Resistance (16:12) - Shooting Style and the Story (20:13) - Italian Neo-Realism (24:30) - Within a Year of the War... Too Soon? (28:45) - Giorgio, Francesco, and Marina (35:26) - Don Pietro (37:50) - The Children (39:38) - Pina's Son and Francesco (42:37) - The Nominees (50:46) - Credits (52:39) - Trilogy (54:07) - Awards (54:50) - The Box Office (56:06) - Last Thoughts (56:59) - Coming Next Week • Death of a Salesman (59:52) - Letterboxd (01:02:35) - Wrap Up Learn more about the WGA strike here. Learn more about the SAG-AFTRA strike here.

La grande interprete moriva il 26 settembre 1973. Il drammatico contrasto fra la gloria raccolta sulle scene e le difficoltà della vita privata

durée : 00:58:40 - Entendez-vous l'éco ? - par : Tiphaine de Rocquigny - Comment Rossellini, qui vécu sous la période fasciste, devint-il l'un des pionniers du néo-réalisme au sortir de la Seconde Guerre mondiale ? Comment s'est-il évertué à filmer les conditions de vie des italiens, tant sous l'occupation que durant la reconstruction et l'exode rural des années 1950 ? - invités : Aurore Renaut Maîtresse de conférences en études cinématographiques et audiovisuelles, spécialiste du cinéma italien; Marie-Anne Matard-Bonucci Professeure d'histoire contemporaine à l'université Paris 8

20 YEARS IN PERSPECTIVE:I told myself I'm going to be a hotelier. Okay so how do I become a hotelier? Well, no hotel owner in their right mind will ask me to run their hotel. So I guess I need to be a hotel owner myself.In my thirties I was kind of a Parisian nightlife kingpin and had a lot of fun, a lot of fun. I probably had a little bit of a delayed teenage crisis and threw my career out the window and decided to go into nightlife.Money came and then went even faster, but I definitely checked a lot of marks in the bucket list and so I enjoyed myself greatly. I decided maybe it was time to get a grip and do something more serious with my life.I'm the son of an architect, I love good design, I love hanging out with people, I love creating things that last;I am about to develop the most beautiful hotel of the Italian riviera, the Grand Miramare Castiglioncello.Seeing my kids grow and being able to impact them and the way they're going to impact the world is something that I derive a lot of happiness from.ON TOPIC: HOSPITALITY, HOTELS, LUXURY AND ENTREPRENEURSHIPMy project for the hotel is to make it the Italian Riviera's most beautiful hotel.The hotel industry: there's an underlying real estate element that makes it easier to financeA checklist for what an asset should look like - location, location, location, architecturally interesting, a straightforward storytelling, etc.Of course, you need to have a good bed, and it needs to be great design, etc., but very difficult to compete on that, because everybody knows how to buy a good bed and hire a good interior designer. It's not that complicated and you see there's a proliferation of luxury hotels.Exceptional service is difficult to achieve. I think it's about making people feel welcomed. You don't go to a luxury hotel to feel at home. You go for something exceptional, you want to feel exceptional. You want to feel like you've been expected to that place for all of your life and when you leave you can't wait to come back.70% repeat rate on clients - when you can achieve that, that I think is true luxury. That you can give people such an experience, that they feel amazing, that everything around makes them feel good and makes them feel exceptional. So much so, that they love to talk about it and word of mouth is the best.ON TOPIC: ENTREPRENEURSHIPReinventing yourself permanently is pretty difficult and it is challenging.You have to be a little bit full of yourself and believe that you're made for being a successful entrepreneur and that if you failed before it's not your fault and you've learned from that and that you have to try again.The reason why I love being an entrepreneur is being able to have an impact.it's the journey more than the goal that matters and then you just do it.I like to put problems in a box and open them when I have to.You can't be good at everything and you should keep a focus on what you are good at.You need to hire people who are smarter than you and better than you.ON GIVING BACKEducation is probably the best way to help the world become a more civilized place and to lift people from poverty.There's some material success of course, but the yield curve on material happiness flattens very quickly.References, mentions: modern luxury, magazine Monocle, How to spend it, Hotel Il Pelicano, Orient Express, Belmond group, humane management, Dead Poets Society, Dino Buzzati, Space invaders, Pirandello, Toscanini, Mastroiani, Visconti, Rossellini, Churchill, Tuscany, Corsica, Elba, Florence, Pisa, San Gimignano, Bolghera, Italian riviera, “wine concierge”, truffle hunting, Relais et Chateaux

A principios de los 50, Robert Bresson parece haber experimentado una intuición clave, que no sólo lo convirtió en un gran cineasta sino que alteró su forma de ver el mundo: en su intento por adaptar el Diario de un cura rural, la novela de Georges de Bernanos, usó los fundamentos del neorrealismo como punto de partida para crear una suerte de poética esencialista y un método fílmico que le permitiera atrapar la experiencia de lo humano. Bresson no estaba solo en esta cruzada; tras la posguerra cineastas como Rossellini, Dreyer, Ozu, Antonioni y Bergman avanzarían en esa misma dirección, pero ninguno de ellos pudo moldear algo como la historia de este joven y enfermo sacerdote que, destinado a una pequeña localidad de Bretaña, se enfrenta a la desidia de sus habitantes gastando las últimas energías que le quedan, condenándose a sí mismo, buscando una gracia que alcanza a avizorar desde muy lejos. De eso y más se habla en este podcast.

Im very pleased to welcome to Digging in the Dirt Isabella Rossellini. In addition to a very successful modeling career, Isabella has starred in some extraordinary films, Like “Blue Velvet”. I Invited her here today not to talk about films but to talk to me about her wonderful organic farm in Brookhaven Long Island, called Mama Farm …..where Ms. Rossellini has a popular CSA and raises endangered breeds of farm animals.

durée : 00:58:31 - Entendez-vous l'éco ? - par : Tiphaine de Rocquigny - Comment Rossellini, qui vécu sous la période fasciste, devint-il l'un des pionniers du néo-réalisme au sortir de la Seconde Guerre mondiale ? Comment s'est-il évertué à filmer les conditions de vie des italiens, tant sous l'occupation que durant la reconstruction et l'exode rural des années 1950 ? - invités : Aurore Renaut Maîtresse de conférences en études cinématographiques et audiovisuelles, spécialiste du cinéma italien; Marie-Anne Matard-Bonucci professeure d'histoire contemporaine à l'université Paris 8

durée : 00:35:00 - Les Nuits de France Culture - par : Albane Penaranda - Roberto Rossellini : "J'ai le rêve de changer le goût du public"

Do you know what they do to soft, bald, overweight Republicans in prison, Ernest? They don't let them listen to Cinema Very Gay, that's what. Grab your shovels and your shotguns, the time has finally come for us to cover one of our favorite gay camp classics, Robert Zemeckis' Death Becomes Her, starring the indelible Meryl Streep, Goldie Hawn, Isabella Rossellini, and Bruce Willis. Madeline Ashton (Streep) and Helen Sharp (Hawn) are bitter social rivals with their eyes on the heart of Dr. Ernest Menville (Willis), but also on their fading looks. A modern witch (Rossellini) offers a magical remedy to help, but is the cure worse than the disease? This movie has solidified its status as a cornerstone of queer cult camp and for excellent reason- it's endlessly quotable, hilariously over-acted, and pits two Oscar winners against each other in a battle of bitchiness. It might be easy to write this movie off as a feminist's nightmare, but that surface-level read might miss some of the nuance that makes this movie so fun to revisit. The morgue? She'll be furious! Our journey through queer-coded Disney villain history continues as well with the gentle and greedy Prince John from Disney's Robin Hood (1973). Voiced hilariously by the esteemed dramatic actor Peter Ustinov, Prince John is a whiny brat of a Prince, a total mama's boy, and casually abusive to his sidekick Sir Hiss. Even though the movie doesn't have the staying power that other animated classics can boast, this languishing lion certainly makes a solid entry in this mini-series. Oo De Lally with Jake and Kevin on this week's episode and give us a follow on Twitter and Instagram @CinemaVeryGay !

durée : 00:58:28 - Toute une vie - par : Anaïs Kien - "Rossellini m'a appris, écrira Truffaut, qu'un bon scénario doit tenir en douze pages, qu'il faut filmer les enfants avec plus de respect que n'importe quoi, que la caméra n'a pas plus d'importance qu'une fourchette et qu'il faut se dire avant chaque tournage : "Je fais ce film ou je crève"

Few directors have polarized the Shat Crew's wipe scores the way David Lynch has, and few David Lynch movies are as polarizing as "Blue Velvet." With odd peccadillos, unsettling violence, over-the-top symbolism and entrancing dreamlike sequences, this 1986 had Ash gushing and the boys cringing.  But talk about a career-builder! "Blue Velvet" changed the way moviegoers saw Isabella Rossellini, Dennis Hopper, Laura Dern and Kyle MacLachlan. It gave us a more straightforward Lynch tale, and it recalibrated the Shat The Movies definition of surprise boobs. Whether you view it as a masterful depiction of primal human behavior hidden behind a suburban veneer or just a really weird movie with some of the worst dirty talk ever filmed, "Blue Velvet" is definitely one to watch ... but maybe not rewatch. SUBSCRIBE Android: https://shatpod.com/android Apple: https://shatpod.com/apple All: https://shatpod.com/subscribe CONTACT Email: hosts@shatpod.com Website: https://shatpod.com/movies Leave a Voicemail: Web: https://shatpod.com/voicemail Leave a Voicemail: Call: (914) 719-7428 SUPPORT THE PODCAST Donate or Commission: https://shatpod.com/support Shop Merchandise: https://shatpod.com/shop Theme Song - Die Hard by Guyz Nite: https://www.facebook.com/guyznite

There are two movies about St. Francis of Assisi on the Vatican's 1995 list of important films. The first, discussed in the previous episode, is Rossellini's well-known Flowers of St. Francis (1950). The second is quite obscure: Liliana Cavani's Francesco (1989), starring Mickey Rourke as St. Francis and Helena Bonham-Carter as St. Clare. The best thing one can say about Francesco is that despite being directed by an atheist, it attempts to take its protagonist seriously as a saint; that it is somewhat faithful to the historical trajectory of his life; and that it does not embrace the usual reductive cliches about St. Francis. Those qualities alone do not make for an interesting film, however, and Francesco would be a fairly rote biopic were it not for the casting of Mickey Rourke. But this casting choice is more of a curiosity than it is a strength of the film. For all the sincerity of Rourke's performance, the lovable personality of Francis as universally attested by early biographies is almost totally missing. This may be a deliberate artistic choice to strip St. Francis of a "superficial" charisma, in order to draw our attention to a deeper mystery at his core. But how much of the historical personality of Francis can we afford to lose before the exercise becomes fruitless? And speaking of stripping, while it's true that a few famous incidents in St. Francis's life involved nudity, the way these are handled onscreen is far from edifying... In this episode, James Majewski, Thomas Mirus and Nathan Douglas attempt to make sense of the most dubious selection on the Vatican film list. Music is The Duskwhales, “Take It Back”, used with permission. https://theduskwhales.bandcamp.com This podcast is a production of CatholicCulture.org. If you like the show, please consider supporting us! http://catholicculture.org/donate/audio

“It's so fun to be bad.” Spooky season continues with filmmaker Ana Lily Amirpour, who talks to Gemma and Slim about her four favorite films—American Psycho, Death Becomes Her, Gremlins, The NeverEnding Story—and the makings of her latest feature Mona Lisa and the Blood Moon and her episode of Guillermo del Toro's Cabinet of Curiosities. Plus: how Ana Lily got Keanu Reeves to sport a ‘stache (and why he paid for his own wig in The Bad Batch), the saddest scene in all of cinema history, the deep and psychedelic qualities of Everything Everywhere All at Once, crushing on Atreyu, how to care for your psychic health when you are a filmmaker, how Mary Harron nailed her American Psycho adaptation, the story behind the gorgeous poster for A Girl Walks Home Alone at Night, Gemma's love for Kate Micucci, Slim's love for Kate Hudson, Ana Lily's love for hard lighting, why we've been watching movies all wrong, the intelligence of comedians, making sure there are snacks in the story, walking red carpets with your dog, the genius of Robert Zemeckis, peak Rossellini, and is Gizmo a symbol of consumerism or cinephile pin-up? #hopefordweebs Credits: This episode was recorded in Los Angeles, Auckland and Pennsylvania, and edited by Slim. Facts by Jack. Booker: Brian Formo. Transcript by Sophie Shin. Art by Samm. Theme: ‘Vampiros Dancoteque' by Moniker. The Letterboxd Show is a TAPEDECK production. Lists & Links: The Letterboxd list of films mentioned in this episode. Rachel's “Movies I wanna show my kids”. Yazz's “When you're feeling a little lost”. Josiah's “The filmbro watchlist” (aka the gaslighter's bible). Etsy's “red flag for men, white flag for women”. Cult Girls - Jack's interview with Guinevere Turner Reviews of The NeverEnding Story by Danny, Mona Lisa and the Blood Moon by Jon Williams, Gremlins by Willow McLay.

The great Italian director Roberto Rossellini made what is generally regarded as the best movie about St. Francis of Assisi. Its original Italian title is Francesco, giullare di Dio ("Francis, God's jester"), but in English it is known as The Flowers of St. Francis - the film being based on a 14th-century Italian novel with the same title. As the Italian title suggests, Rossellini wanted to focus on the whimsical aspects of the saint's personality. He sought to capture “the merrier aspect of the Franciscan experience, on the playfulness, the ‘perfect delight,' the freedom that the spirit finds in poverty, and in an absolute detachment from material things," all elements he had found in the book on which the film was based. The film faithfully imitates the simple poignant and amusing charm of its source material, right down to its structure as a series of vignettes with no overarching plot. Like the book, it is about St. Francis's followers as much as the saint himself, and particularly focuses on the misadventures of Brother Juniper, as found in the Life of Brother Juniper, a text associated with The Little Flowers of St. Francis. In keeping with Rossellini's prior work as one of the founders of Italian neo-realism, the film uses almost no professional actors: all the Franciscan characters are played by real Franciscan monks. This too contributes to the film's purity and simplicity - an appropriate tribute to St. Francis. The film is one of two about St. Francis that were included on the Vatican's 1995 list of important films. The next episode will be about the other: Liliana Cavani's Francesco (1989). Music is The Duskwhales, “Take It Back”, used with permission. https://theduskwhales.bandcamp.com This podcast is a production of CatholicCulture.org. If you like the show, please consider supporting us! http://catholicculture.org/donate/audio

As her voice rises and falls through rhythmic intonations, ISABELLA ROSSELINI takes ARMAN through what it was like to grow up in the spotlight and forge her own path. Not only a famed ACTRESS, AUTHOR, FILMMAKER. MODEL, and SINGER, but also an ECOLOGIST and ANIMAL BEHAVIOURIST, ROSSELINI meets us where she is most comfortable: her Bellport, New York farm. This magical place, she says, brings her ‘closer to the earth center.' Distinguishing her hens by the sound and pitch of their clucking, and her roosters by the way they COCK-A-DOODLE-DO, her attention to detail thrives and grows as part of the farm. Crossing language barriers with and bringing together for the first time a partnership that would change cinema soundtracks forever, ROSSELLINI elaborates on working with DAVID LYNCH and ANGELO BADALAMENTI. Taking us backstage of her legendary singing of BLUE VELVET, a smile breaks across her face. Throughout the interview, it's as if ROSELLINI travels in time to each moment she's describing to Arman. To share this hour with ROSSELINI is pure joy and peace. A perfect way to close out SEASON 3. In her own words - “Once you have confidence, you become much more daring.” In this spirit, we turn the page to SEASON 4. www.areweonair.com/isabella-rossellini www.instagram.com/areweonair/ www.instagram.com/armannafeei/

durée : 00:35:00 - Les Nuits de France Culture - par : Philippe Garbit - En 1987, "Les nuits magnétiques" consacraient une émission spéciale au cinéaste italien Roberto Rossellini disparu dix ans auparavant. - invités : Daniel Toscan du Plantier Producteur de cinéma; Michel Boujut critique de cinéma, essayiste et romancier; Roberto Rossellini