Hamid Nematollah burst onto the scene with Boutique, a revelation that drew strong performances from two of Iranian cinema's young and upcoming stars at the time: Mohamadreza Golzar and Golshifteh Farahani, and showed a penchant for emotionally raw portrayals of romantic relationships. His fourth film, Subdued, is a richer film in the same forte, with a sensational performance from international superstar Leila Hatami. Tapping into the history of Iranian romantic melodrama, Subdued tells the story of Mina (Hatami), a recent divorcee who falls for Kamran (Tahami), but unforeseen circumstances befall this unconsummated love. Nematollah’s smart direction, the stunning cinematography by Farshad Mohammadi and Hatami's electric performance have all won raves for a film that has become one of the biggest box office and critical hits of the year in Iran.
“Magic is everywhere.” Young American ballet student Suzy Bannion (Jessica Harper) arrives in Germany to train at the renowned Tanz dance academy, steps out of Freiburg airport and is instantly submerged in a surrealistic nightmare world of witchcraft, anxiety and blood in Dario Argento’s singular 1977 groundbreaker. A rapturously unique vision of horror, with a cast that includes Alida Valli, Joan Bennett, Stefania Casini and Udo Kier, SUSPIRIA is an operatic fever dream of the occult that doesn’t look, sound or feel like any film ever has. It is a perfect expressionistic storm, its innovative cinematography saturated with primary colours that all but drip from the screen, its gobsmacking art direction coming straight from the subconscious, conjured by a soundtrack that attacks with nightmarishly experimental sound design and an unforgettable Goblin score. In a triumph of emotion over logic, Argento overwhelms the senses while irrational happenings smash against what an audience may demand, throwing viewers onto such unfamiliar ground that they can only submit to the experience. And what an experience it is.
In his previous works, Argento had already displayed a spectacularly uncommon visual awareness, focusing on macro details and spatial relationships within shots with a sensitivity that would simply never come to most filmmakers, but nothing could have prepared audiences for SUSPIRIA. As well, the explicit violence that had become a staple component of his work exploded here with a vividness that was initially censored just about everywhere and is today every bit as shocking.
A Grand Guignol fairy tale from the darkest recesses of creative brilliance, SUSPIRIA remains one of the most visually and sonically breathtaking genre works in the history of film. Its complex aesthetics, so difficult to reproduce with accuracy on a non-photochemical medium, have resulted in a home video history that is itself the stuff of nightmares. For the past three years, Synapse Films has been working on the definitive restoration of Argento’s masterpiece, with the full cooperation, supervision and approval of its celebrated cinematographer Luciano Tovoli (TENEBRAE, THE PASSENGER), who spared no effort to accurately reproduce the film’s original Technicolor visuals. With all the love and obsession that this extraordinary film commands, SUSPIRIA has been restored from the original 35mm Italian camera negative and is presented with the legendary 4.0 discrete sound mix not heard since its 1977 theatrical release.»-Mitch Davis, FANTASIA FILM FESTIVAL
The CANNES LIONS are back with a brand new edition!
Established in 1954, the Cannes Advertising Film Festival is the largest annual gathering of international advertising, where the most prestigious advertising awards are handed out. The competition is judged by creative talent from the best agencies on the international scene.
Back again this year with a wide array of amazing advertising campaigns, the Cannes Lions are still the most perfect way to discover this year’s best and most creative ads. For the movie lover as well as for the entertainment devotee, for the profane as well as for the advertising professional, there's a little for every taste.
Autumn in Helsinki and Uusimaa described in Aki Kaurismäen Le Havre harbor trilogy, the second part, which tells about Finnish Trade passengers and Iraqi refugees. Drama The film, which also presents the jumps and the encounter of different cultures. Everyone can learn something from the other. Music has the right to play a role in this film.
Since its release in 2003, The Room has captivated cult audiences on the midnight movie circuit with its discombobulated plot, discordant performances, and inexplicable dialogue. Every facet of the film baffles (and beguiles), none more so than the uncanny yet magnetic presence of its eccentric creator and star, Tommy Wiseau, inhabited magnificently in The Disaster Artist by director and star James Franco.
Drawing on the memoir of the same name, Franco chronicles the making of The Room as recalled by Wiseau's friend and reluctant co-star Greg Sestero (played, in a flourish of inspired casting, by Franco's brother Dave). Co-producer and frequent Franco collaborator Seth Rogen plays the foil as the bizarre Wiseau's incredulous script supervisor; also on hand is a cavalcade of surprise comedians and celebrities (no spoilers!), many of whom participate in pitch-perfect recreations of Wiseau's singular vision.
What could have been a mean-spirited mockery of one would-be artist's reach exceeding his grasp instead becomes an empathetic character study that is guaranteed to tear Midnight audiences apart! with uproarious laughter. It is a brilliant comedic portrayal of a Hollywood outsider by a Hollywood insider whose own artistic pursuits have consistently defied easy categorization — and the most sincere veneration of a Z-grade auteur since Tim Burton's Ed Wood.
At the height of the Cold War, circa 1962, two workers in a high-tech US government laboratory (Sally Hawkins and Oscar winner Octavia Spencer) discover a terrifying secret experiment, in this otherworldly fairytale from Guillermo del Toro (Pan’s Labyrinth).
"Well, the first thing is that I love monsters. I identify with monsters."
No filmmaker has plumbed the soul of screen monsters with more fire and empathy than Guillermo del Toro. The master behind Pan's Labyrinth, Hellboy, and Pacific Rim has long shown a deep understanding of what monsters mean to us, and why we need them. THE SHAPE OF WATER is his strongest expression yet of the shivering appeal of monsters, and the unsettling notion that the monstrous can be revealed in many forms.
In 1963, Elisa (Sally Hawkins) works as a janitor at a US government laboratory. One night, a strange, amphibious creature (del Toro regular Doug Jones) is wrangled into the facility. Elisa is more fascinated than frightened. What scares her more is the threat posed by the federal agent in charge (Michael Shannon, also appearing at this year's Festival in The Current War). Cruel and self-serving, he seems convinced the surest way to handle the mysterious creature is to kill it. With the help of her neighbor Giles (Richard Jenkins), her co-worker Zelda (Octavia Spencer), and a sympathetic scientist (Michael Stuhlbarg), Elisa hatches a plan to save the creature's life, at the risk of her own.
Strange marvels abound in THE SHAPE OF WATER. Marshalling these remarkable performances together with stunning production design, fluid camerawork, and Alexandre Desplat's gorgeous score, del Toro delivers unforgettable film poetry. Movie fans will luxuriate in the wealth of references to classic monster movies and mid-century thrillers. Some will note the film's layered subtexts of social critique. But none of that is necessary to enjoy the pure pleasure of watching a master filmmaker working at the height of his powers, exploring the world he most loves.
The latest from Italian auteur Luca Guadagnino ( I Am Love, A Bigger Splash) explores the tender, tentative relationship that blooms over the course of one summer between a 17-year-old boy on the cusp of adulthood (Timothée Chalamet) and his father's research assistant (Armie Hammer).
Luca Guadagnino (I Am Love, A Bigger Splash) has fashioned André Aciman's 2007 novel of sexual awakening into a joyous romantic adventure. Set in the sun-kissed landscape of Lombardy, Northern Italy, and with a script by James Ivory, CALL MY BY YOUR NAME is a note-perfect tale of forbidden love. It brings together Timothée Chalamet (also at the Festival in Hostiles) and Armie Hammer as the two protagonists whose summer in the countryside opens new doors for both of them.
Guadagnino's camera presides languidly over the rambling villa used as a vacation home by American professor Perlman (Michael Stuhlbarg) and his family. Each summer, the professor invites a doctoral student to visit and help with his research. When hunky 24-year-old Oliver (Hammer) shows up, Perlman's 17-year-old son, Elio (Chalamet) is initially cool and distant. After all, he has a beautiful girlfriend who takes up most of his emotional time. Cast inadvertently into playing the role of good host, squiring fellow American Oliver around town and country, Elio finds himself confounded by a growing physical attraction to the visitor. Their courtship is tentative and awkward, consisting of looks and glances, touches and caresses. Elio's parents look on, blissfully unaware of the heated passions that are boiling beneath the surface.
CALL MY BY YOUR NAME is, above all, a kind of reverie amidst a golden summer of bike rides, swimming holes, and outdoor dinners. Its lush sensuality casts a very special spell that is impossible to resist.