In 2001, Giuseppe Piccioni’s romantic drama “Light of My Eyes” was screened at the Venice Film Festival, where it took home the Best Actor and Actress Awards. Now, the Italian director returns to the festival with his film “These Days” (“Questi giorni”), which will compete for the Golden Lion.
Starring Laura Adriani, Margherita Buy and Giulio Corso, “These Days” follows four girls who go on an adventure together to Belgrade, where a mysterious friend and an improbable work opportunity are waiting. Their friendship is based not on overwhelming passions, mutual interests or great ideals but rather on habits, occasional enthusiasms, harmless contrasts and feelings cultivated in secret.
Ahead of its premiere at Venice, IndieWire has a new trailer for the upcoming drama, which highlights the friends’ journey as they come to appreciate their present lives.
Read More: ‘As I Open My Eyes’ Exclusive Clip: A Coming-of-Age Story Set Against The...
Starring Laura Adriani, Margherita Buy and Giulio Corso, “These Days” follows four girls who go on an adventure together to Belgrade, where a mysterious friend and an improbable work opportunity are waiting. Their friendship is based not on overwhelming passions, mutual interests or great ideals but rather on habits, occasional enthusiasms, harmless contrasts and feelings cultivated in secret.
Ahead of its premiere at Venice, IndieWire has a new trailer for the upcoming drama, which highlights the friends’ journey as they come to appreciate their present lives.
Read More: ‘As I Open My Eyes’ Exclusive Clip: A Coming-of-Age Story Set Against The...
- 9/5/2016
- by Liz Calvario
- Indiewire
Don’t Let’s Ask For the Moon: Nolan’s Space Opera for the Ages
At last divorcing himself from the omnipotent shadows of Batman, director Christopher Nolan’s latest, Interstellar, returns to the heady, theoretical sci-fi that graced his equally ambitious 2010 title Inception, wherein Avant Garde concept courted mainstream appeal. Already the source of wildly enthusiastic praise and acclaim, with filmmakers like Quentin Tarantino announcing the film to be equal to the philosophical sci-fi of Tarkovsky and the meditative cinematic poetry of Malick, Nolan has indeed crafted an object of great beauty worthy of such egregious admiration. As far as a masterful visualization of space and an exploration of profound theory, it belongs on a shortlist of must see films which it’s comparably akin to, from Kubrick’s 2001: A Space Odyssey to Cuaron’s Gravity. But Nolan’s film falls short in other realms, namely the human component,...
At last divorcing himself from the omnipotent shadows of Batman, director Christopher Nolan’s latest, Interstellar, returns to the heady, theoretical sci-fi that graced his equally ambitious 2010 title Inception, wherein Avant Garde concept courted mainstream appeal. Already the source of wildly enthusiastic praise and acclaim, with filmmakers like Quentin Tarantino announcing the film to be equal to the philosophical sci-fi of Tarkovsky and the meditative cinematic poetry of Malick, Nolan has indeed crafted an object of great beauty worthy of such egregious admiration. As far as a masterful visualization of space and an exploration of profound theory, it belongs on a shortlist of must see films which it’s comparably akin to, from Kubrick’s 2001: A Space Odyssey to Cuaron’s Gravity. But Nolan’s film falls short in other realms, namely the human component,...
- 11/5/2014
- by Nicholas Bell
- IONCINEMA.com
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