“I had read an article which made me aware about some convicts’ kids who are born and live with their mothers in jail for a few years,” Italian helmer Andrea Magnani told Variety, ahead of the international premiere of his sophomore feature, “Jailbird,” which screens in the main competition of the Torino Film Festival. The movie revolves around young Giacinto (Adriano Tardiolo), the son of two inmates, who struggles to get out of the prison ward, until he takes part in a foot race which promises to change his life.
“This law aims not to break the bond between these kids and their mothers. I realized this was a very interesting starting point to tell a story of a different type, that of a boy who grows up but doesn’t manage to get rid of his own fears and ‘cages.’ […] This is something each one of us may relate to.
“This law aims not to break the bond between these kids and their mothers. I realized this was a very interesting starting point to tell a story of a different type, that of a boy who grows up but doesn’t manage to get rid of his own fears and ‘cages.’ […] This is something each one of us may relate to.
- 11/25/2022
- by Davide Abbatescianni
- Variety Film + TV
Il mostro della cripta Review — Il mostro della cripta (2021) Film Review from the 74th Annual Locarno Film Festival, a movie directed by Daniele Misischia, starring Tobia De Angelis, Amanda Campana, Pasquale Petrolo, Giovanni Calcagno, Nicola Branchini, and Chiara Caselli. Relishing in a particularly American palate of media nostalgia is one thing, but fully embodying [...]
Continue reading: Film Review: Il Mostro Della Cripta: A Lazy Italian Horror Riff on ‘80s American Nostalgia [Locarno 2021]...
Continue reading: Film Review: Il Mostro Della Cripta: A Lazy Italian Horror Riff on ‘80s American Nostalgia [Locarno 2021]...
- 8/28/2021
- by Jacob Mouradian
- Film-Book
Set in Sicily, the film is an Italian-Ukraine co-production starring Irma Vitovska and Giovanni Calcagno. Shooting began just a few days ago on Koza Nostra, the feature film debut of Giovanni Dota, the 31-year-old Neapolitan director who previously worked as an assistant director on Gomorrah and authored the multi-award-winning short Fino alla fine. The film is a co-production between Italy and the Ukraine by Pepito Produzioni and Film.UA Group, together with Rai Cinema. Written by Giovanni Dota, Anastasiia Lodkina, Giulia Magda Martinez and Matteo Visconti, the story focuses on an interfering yet caring, mature Ukrainian woman, played by Ukrainian actress Irma Vitovska (My Thoughts Are Silent). When Vlada Koza becomes a grandma for the first time, she drops everything and departs the Carpathian Mountains to go to her daughter in Italy, turning up on her doorstep without a word of warning. Unfortunately, the younger woman doesn’t appreciate her mother’s suffocating.
"You can't take money to the grave." Sony Pictures Classics has debuted a new official Us trailer for the Italian mafia drama The Traitor, originally titled Il Traditore, which first premiered at the Cannes Film Festival this year. It's stopping by the Toronto Film Festival next, then will be hitting Us theaters sometime in early 2020. The film tells the real story of Tommaso Buscetta, the so called "boss of the two worlds", who became the first mafia informant in Sicily in the 1980s. The film received mostly negative reviews out of Cannes, with critics saying that, "there's just no real perspective on Buscetta, which separates this brisk but uninvolving history lesson from the truly great mob movies." The film stars Pierfrancesco Favino, Luigi Lo Cascio, Fausto Russo Alesi, Maria Fernanda Cândido, Fabrizio Ferracane, Nicola Calì, and Giovanni Calcagno. This looks like an epic retelling of this big mafia trial, but perhaps a bit too indulgent.
- 9/5/2019
- by Alex Billington
- firstshowing.net
In today’s film news roundup, “Between Two Ferns: The Movie” is unveiled, “Friedkin Uncut” gets a fall release and Sony Classics buys “The Traitor” at Cannes.
Movie Releases
Netflix has set a Sept. 20 release date for Zach Galifianakis’ “Between Two Ferns: The Movie,” based on his 11-year-old talk show.
Galifianakis made the announcement during a Netflix awards event with David Letterman on Thursday night. Galifianakis co-wrote the movie with Scott Aukerman, who’s directing the film.
Aukerman was the director of 14 of the 21 episodes of the talk show, which began in 2008 with an interview with Michael Cera. The most recent “Between Two Ferns” aired in 2018 with Jerry Seinfeld, Wayne Knight and Cardi B.
Aukerman and Galifianakis are producing with Funny or Die’s Caitlin Daley and Mike Farah. The logline involves the comedian and his crew taking a road trip to complete a series of high-profile celebrity interviews and restore his reputation.
Movie Releases
Netflix has set a Sept. 20 release date for Zach Galifianakis’ “Between Two Ferns: The Movie,” based on his 11-year-old talk show.
Galifianakis made the announcement during a Netflix awards event with David Letterman on Thursday night. Galifianakis co-wrote the movie with Scott Aukerman, who’s directing the film.
Aukerman was the director of 14 of the 21 episodes of the talk show, which began in 2008 with an interview with Michael Cera. The most recent “Between Two Ferns” aired in 2018 with Jerry Seinfeld, Wayne Knight and Cardi B.
Aukerman and Galifianakis are producing with Funny or Die’s Caitlin Daley and Mike Farah. The logline involves the comedian and his crew taking a road trip to complete a series of high-profile celebrity interviews and restore his reputation.
- 5/25/2019
- by Dave McNary
- Variety Film + TV
After Triumphant Cannes Premiere, ‘The Traitor (Il Traditore)’ Is Acquired By Sony Pictures Classics
Exclusive: Following its Cannes premiere Thursday evening, The Traitor’ (Il traditore) is being acquired for North American distribution by Sony Pictures Classics, sources said. The Marco Bellocchio-directed drama chronicled the takedown of organized crime seen through the eyes of Tommaso Buscetta (Pierfrancesco Favino), a key mob figure who turned state’s evidence in a move that led others to do the same, crumbling the omerta code that allowed the gangsters to operate unfettered. A slew of killers and drug traffickers ended up in prison as a result.
The drama unfolds in 1980, when the game grew from old-style crime with decorum to a more bloodthirsty business. Buscetta’s decision to turn “rat” leads to the arrest of all the mafia chieftains, who face off against Buscetta in a “maxi trial” that was shocking because no one at his level of criminal prominence had done such a thing. To the star witness,...
The drama unfolds in 1980, when the game grew from old-style crime with decorum to a more bloodthirsty business. Buscetta’s decision to turn “rat” leads to the arrest of all the mafia chieftains, who face off against Buscetta in a “maxi trial” that was shocking because no one at his level of criminal prominence had done such a thing. To the star witness,...
- 5/23/2019
- by Mike Fleming Jr
- Deadline Film + TV
Giovanni La Parola’s film is an Italian-French co-production.
Urban Distribution International (Udi) has clinched world sales rights on Italian director Giovanni La Parola’s hybrid Sicily-set western My Body Will Bury You about a group of female bandits operating on the island on the eve of Italian reunification.
The production features an ensemble cast including Miriam Dalmazio, Antonia Truppo, Margareth Madè, Guido Caprino and Giovanni Calcagno. It started shooting on May 14 for eight weeks in Puglia.
My Body Will Bury You is a co-production between Italy and France, produced by Cinemaundici and Ascent Film with the support of Rai Cinema...
Urban Distribution International (Udi) has clinched world sales rights on Italian director Giovanni La Parola’s hybrid Sicily-set western My Body Will Bury You about a group of female bandits operating on the island on the eve of Italian reunification.
The production features an ensemble cast including Miriam Dalmazio, Antonia Truppo, Margareth Madè, Guido Caprino and Giovanni Calcagno. It started shooting on May 14 for eight weeks in Puglia.
My Body Will Bury You is a co-production between Italy and France, produced by Cinemaundici and Ascent Film with the support of Rai Cinema...
- 5/11/2018
- by Melanie Goodfellow
- ScreenDaily
Screened
Toronto International Film Festival
TORONTO -- In "Good Morning, Night" (Buongiorno, Notte), Marco Bellocchio dramatizes one of the most traumatic events in recent Italian history -- the kidnapping and murder of its former prime minister, Aldo Moro, by a Red Brigade faction in 1978. The writer-director's inquiry into this tragedy makes for a moving and intelligent film, but the dark story never feels fully realized. Bellocchio experiments with a number of fictional methods to penetrate the minds of his characters, but not all work -- and some add confusion rather than clarity.
Nevertheless, this film will be a must-see in its native land, while festival exposure here and in Venice should lead to theatrical releases in many international territories. The film is certainly one of the better attempts by a European filmmaker to grapple with the terrorist activity that plagued Western Europe in the '70s.
The film's early moments depict two of the kidnappers, Ernesto Pier Giorgio Bellocchio, the director's son) and Chiara (Maya Sansa), posing as a married couple to rent a large Roman apartment with an underground garage. Here they plan to sequester their victim. Under the leadership of Mariano Luigi Lo Cascio), Primo (Giovanni Calcagno) and the other two design and construct a hiding place behind a bookshelf wall.
The bloody shootout and kidnapping in broad daylight occur off camera. Chiara learns about it from a TV news bulletin, which alerts her to her colleagues' success and to the imminent arrival of a houseguest.
Moro (Roberto Herlitzka) languishes in the flat for 55 days. During this time, his kidnappers conduct fruitless negotiations with authorities. Moro even writes to the pope to gain concessions that would win his release.
While all of this is happening, Bellocchio imagines conversations between Moro and his communist kidnappers, chiefly their ideologue leader Mariano, a dialogue in which the two parties talk past each other. The story is told from the point of view of Chiara, the cell's only woman. Her doubts about the group's action grow with each passing day. She experiences flashbacks (in black-and-white) to the struggle against fascism during World War II, which lead her to wonder whether her colleagues' radical ideology is uncomfortably akin to the fascists'.
At her job in a library, she develops a relationship with a young man (Paolo Briguglia) who just happens to have written a screenplay about a similar terrorist kidnapping. What Bellocchio wants to achieve here is never clear, nor is the police arrest of her colleague ever explained.
Having trouble sleeping at night, Chiara experiences dreams when she does fall asleep in which Moro roams freely about the apartment, checking out books in the bookshelf, and later, a fantasy in which she frees him before her pals can kill him.
As the film moves back and forth between these hallucinations and the tense boredom of the waiting period, during which the cell's members start to suspect one another, the movie loses some of its grip on the audience. Bellocchio's impressionistic approach never quite jells with the more realistic account of the terrorists' methodology. One also wishes that at least one terrorist would offer a cogent rationale for their actions. Indeed, only Chiara seems able to question their motives and goals.
A movie about the Moro incident should be unsettling, and this one is. The failure of ideology to justify such a crime is clearly dramatized by Bellocchio. The actors convey the blindness of much of the European radical left of that era to the consequences of such acts. In the way Bellocchio lights and shoots the claustrophobic flat, he makes clear that everyone is a prisoner there, not just Moro.
GOOD MORNING, NIGHT
A Filmalbatos/RAI Cinema production in association with Sky
Credits:
Screenwriter-director: Marco Bellocchio
Producer: Marco Bellochio, Sergio Pelone
Director of photography: Pasquale Mari
Production designer: Marco Dentici
Music: Riccardo Giagni
Costume designer: Sergio Ballo
Editor: Francesca Calvelli
Cast:
Chiara: Maya Sansa
Mariano: Luigi Lo Cascio
Aldo Moro: Roberto Herlitzka
Enzo: Paolo Briguglia
Ernesto: Pier Giorgio Bellocchio
Primo: Giovanni Calcagno
Running time -- 108 minutes
No MPAA rating...
Toronto International Film Festival
TORONTO -- In "Good Morning, Night" (Buongiorno, Notte), Marco Bellocchio dramatizes one of the most traumatic events in recent Italian history -- the kidnapping and murder of its former prime minister, Aldo Moro, by a Red Brigade faction in 1978. The writer-director's inquiry into this tragedy makes for a moving and intelligent film, but the dark story never feels fully realized. Bellocchio experiments with a number of fictional methods to penetrate the minds of his characters, but not all work -- and some add confusion rather than clarity.
Nevertheless, this film will be a must-see in its native land, while festival exposure here and in Venice should lead to theatrical releases in many international territories. The film is certainly one of the better attempts by a European filmmaker to grapple with the terrorist activity that plagued Western Europe in the '70s.
The film's early moments depict two of the kidnappers, Ernesto Pier Giorgio Bellocchio, the director's son) and Chiara (Maya Sansa), posing as a married couple to rent a large Roman apartment with an underground garage. Here they plan to sequester their victim. Under the leadership of Mariano Luigi Lo Cascio), Primo (Giovanni Calcagno) and the other two design and construct a hiding place behind a bookshelf wall.
The bloody shootout and kidnapping in broad daylight occur off camera. Chiara learns about it from a TV news bulletin, which alerts her to her colleagues' success and to the imminent arrival of a houseguest.
Moro (Roberto Herlitzka) languishes in the flat for 55 days. During this time, his kidnappers conduct fruitless negotiations with authorities. Moro even writes to the pope to gain concessions that would win his release.
While all of this is happening, Bellocchio imagines conversations between Moro and his communist kidnappers, chiefly their ideologue leader Mariano, a dialogue in which the two parties talk past each other. The story is told from the point of view of Chiara, the cell's only woman. Her doubts about the group's action grow with each passing day. She experiences flashbacks (in black-and-white) to the struggle against fascism during World War II, which lead her to wonder whether her colleagues' radical ideology is uncomfortably akin to the fascists'.
At her job in a library, she develops a relationship with a young man (Paolo Briguglia) who just happens to have written a screenplay about a similar terrorist kidnapping. What Bellocchio wants to achieve here is never clear, nor is the police arrest of her colleague ever explained.
Having trouble sleeping at night, Chiara experiences dreams when she does fall asleep in which Moro roams freely about the apartment, checking out books in the bookshelf, and later, a fantasy in which she frees him before her pals can kill him.
As the film moves back and forth between these hallucinations and the tense boredom of the waiting period, during which the cell's members start to suspect one another, the movie loses some of its grip on the audience. Bellocchio's impressionistic approach never quite jells with the more realistic account of the terrorists' methodology. One also wishes that at least one terrorist would offer a cogent rationale for their actions. Indeed, only Chiara seems able to question their motives and goals.
A movie about the Moro incident should be unsettling, and this one is. The failure of ideology to justify such a crime is clearly dramatized by Bellocchio. The actors convey the blindness of much of the European radical left of that era to the consequences of such acts. In the way Bellocchio lights and shoots the claustrophobic flat, he makes clear that everyone is a prisoner there, not just Moro.
GOOD MORNING, NIGHT
A Filmalbatos/RAI Cinema production in association with Sky
Credits:
Screenwriter-director: Marco Bellocchio
Producer: Marco Bellochio, Sergio Pelone
Director of photography: Pasquale Mari
Production designer: Marco Dentici
Music: Riccardo Giagni
Costume designer: Sergio Ballo
Editor: Francesca Calvelli
Cast:
Chiara: Maya Sansa
Mariano: Luigi Lo Cascio
Aldo Moro: Roberto Herlitzka
Enzo: Paolo Briguglia
Ernesto: Pier Giorgio Bellocchio
Primo: Giovanni Calcagno
Running time -- 108 minutes
No MPAA rating...
Screened
Toronto International Film Festival
TORONTO -- In "Good Morning, Night" (Buongiorno, Notte), Marco Bellocchio dramatizes one of the most traumatic events in recent Italian history -- the kidnapping and murder of its former prime minister, Aldo Moro, by a Red Brigade faction in 1978. The writer-director's inquiry into this tragedy makes for a moving and intelligent film, but the dark story never feels fully realized. Bellocchio experiments with a number of fictional methods to penetrate the minds of his characters, but not all work -- and some add confusion rather than clarity.
Nevertheless, this film will be a must-see in its native land, while festival exposure here and in Venice should lead to theatrical releases in many international territories. The film is certainly one of the better attempts by a European filmmaker to grapple with the terrorist activity that plagued Western Europe in the '70s.
The film's early moments depict two of the kidnappers, Ernesto Pier Giorgio Bellocchio, the director's son) and Chiara (Maya Sansa), posing as a married couple to rent a large Roman apartment with an underground garage. Here they plan to sequester their victim. Under the leadership of Mariano Luigi Lo Cascio), Primo (Giovanni Calcagno) and the other two design and construct a hiding place behind a bookshelf wall.
The bloody shootout and kidnapping in broad daylight occur off camera. Chiara learns about it from a TV news bulletin, which alerts her to her colleagues' success and to the imminent arrival of a houseguest.
Moro (Roberto Herlitzka) languishes in the flat for 55 days. During this time, his kidnappers conduct fruitless negotiations with authorities. Moro even writes to the pope to gain concessions that would win his release.
While all of this is happening, Bellocchio imagines conversations between Moro and his communist kidnappers, chiefly their ideologue leader Mariano, a dialogue in which the two parties talk past each other. The story is told from the point of view of Chiara, the cell's only woman. Her doubts about the group's action grow with each passing day. She experiences flashbacks (in black-and-white) to the struggle against fascism during World War II, which lead her to wonder whether her colleagues' radical ideology is uncomfortably akin to the fascists'.
At her job in a library, she develops a relationship with a young man (Paolo Briguglia) who just happens to have written a screenplay about a similar terrorist kidnapping. What Bellocchio wants to achieve here is never clear, nor is the police arrest of her colleague ever explained.
Having trouble sleeping at night, Chiara experiences dreams when she does fall asleep in which Moro roams freely about the apartment, checking out books in the bookshelf, and later, a fantasy in which she frees him before her pals can kill him.
As the film moves back and forth between these hallucinations and the tense boredom of the waiting period, during which the cell's members start to suspect one another, the movie loses some of its grip on the audience. Bellocchio's impressionistic approach never quite jells with the more realistic account of the terrorists' methodology. One also wishes that at least one terrorist would offer a cogent rationale for their actions. Indeed, only Chiara seems able to question their motives and goals.
A movie about the Moro incident should be unsettling, and this one is. The failure of ideology to justify such a crime is clearly dramatized by Bellocchio. The actors convey the blindness of much of the European radical left of that era to the consequences of such acts. In the way Bellocchio lights and shoots the claustrophobic flat, he makes clear that everyone is a prisoner there, not just Moro.
GOOD MORNING, NIGHT
A Filmalbatos/RAI Cinema production in association with Sky
Credits:
Screenwriter-director: Marco Bellocchio
Producer: Marco Bellochio, Sergio Pelone
Director of photography: Pasquale Mari
Production designer: Marco Dentici
Music: Riccardo Giagni
Costume designer: Sergio Ballo
Editor: Francesca Calvelli
Cast:
Chiara: Maya Sansa
Mariano: Luigi Lo Cascio
Aldo Moro: Roberto Herlitzka
Enzo: Paolo Briguglia
Ernesto: Pier Giorgio Bellocchio
Primo: Giovanni Calcagno
Running time -- 108 minutes
No MPAA rating...
Toronto International Film Festival
TORONTO -- In "Good Morning, Night" (Buongiorno, Notte), Marco Bellocchio dramatizes one of the most traumatic events in recent Italian history -- the kidnapping and murder of its former prime minister, Aldo Moro, by a Red Brigade faction in 1978. The writer-director's inquiry into this tragedy makes for a moving and intelligent film, but the dark story never feels fully realized. Bellocchio experiments with a number of fictional methods to penetrate the minds of his characters, but not all work -- and some add confusion rather than clarity.
Nevertheless, this film will be a must-see in its native land, while festival exposure here and in Venice should lead to theatrical releases in many international territories. The film is certainly one of the better attempts by a European filmmaker to grapple with the terrorist activity that plagued Western Europe in the '70s.
The film's early moments depict two of the kidnappers, Ernesto Pier Giorgio Bellocchio, the director's son) and Chiara (Maya Sansa), posing as a married couple to rent a large Roman apartment with an underground garage. Here they plan to sequester their victim. Under the leadership of Mariano Luigi Lo Cascio), Primo (Giovanni Calcagno) and the other two design and construct a hiding place behind a bookshelf wall.
The bloody shootout and kidnapping in broad daylight occur off camera. Chiara learns about it from a TV news bulletin, which alerts her to her colleagues' success and to the imminent arrival of a houseguest.
Moro (Roberto Herlitzka) languishes in the flat for 55 days. During this time, his kidnappers conduct fruitless negotiations with authorities. Moro even writes to the pope to gain concessions that would win his release.
While all of this is happening, Bellocchio imagines conversations between Moro and his communist kidnappers, chiefly their ideologue leader Mariano, a dialogue in which the two parties talk past each other. The story is told from the point of view of Chiara, the cell's only woman. Her doubts about the group's action grow with each passing day. She experiences flashbacks (in black-and-white) to the struggle against fascism during World War II, which lead her to wonder whether her colleagues' radical ideology is uncomfortably akin to the fascists'.
At her job in a library, she develops a relationship with a young man (Paolo Briguglia) who just happens to have written a screenplay about a similar terrorist kidnapping. What Bellocchio wants to achieve here is never clear, nor is the police arrest of her colleague ever explained.
Having trouble sleeping at night, Chiara experiences dreams when she does fall asleep in which Moro roams freely about the apartment, checking out books in the bookshelf, and later, a fantasy in which she frees him before her pals can kill him.
As the film moves back and forth between these hallucinations and the tense boredom of the waiting period, during which the cell's members start to suspect one another, the movie loses some of its grip on the audience. Bellocchio's impressionistic approach never quite jells with the more realistic account of the terrorists' methodology. One also wishes that at least one terrorist would offer a cogent rationale for their actions. Indeed, only Chiara seems able to question their motives and goals.
A movie about the Moro incident should be unsettling, and this one is. The failure of ideology to justify such a crime is clearly dramatized by Bellocchio. The actors convey the blindness of much of the European radical left of that era to the consequences of such acts. In the way Bellocchio lights and shoots the claustrophobic flat, he makes clear that everyone is a prisoner there, not just Moro.
GOOD MORNING, NIGHT
A Filmalbatos/RAI Cinema production in association with Sky
Credits:
Screenwriter-director: Marco Bellocchio
Producer: Marco Bellochio, Sergio Pelone
Director of photography: Pasquale Mari
Production designer: Marco Dentici
Music: Riccardo Giagni
Costume designer: Sergio Ballo
Editor: Francesca Calvelli
Cast:
Chiara: Maya Sansa
Mariano: Luigi Lo Cascio
Aldo Moro: Roberto Herlitzka
Enzo: Paolo Briguglia
Ernesto: Pier Giorgio Bellocchio
Primo: Giovanni Calcagno
Running time -- 108 minutes
No MPAA rating...
- 9/22/2003
- The Hollywood Reporter - Movie News
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