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2024 Filmleri/Festivallerden/Film Analizi

Simón de la Montaña (2024)

⭐⭐⭐ "Simon de la montaña" güçlü teknik yönu ile yönetmen için umut verici bir başlangıç olarak etkileyici bir izlenim bırakıyor

29/06/2024

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kino avant-garde hevesli bir sinefil, cineliterate ve aynı zamanda sıkı bir görsel sanat takipçisi tarafından üstad Jean-Luc Godard'in "An aesthetic is that of the sniper on the roof" sloganıyla 12 Aralık 2022'de yolculuğuna başladı.

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An aesthetic is that of the sniper on the roof. "Le film sur l'art" Sinema & sanat; bağlantılar, film analizleri ve dahası... EN account: kino_avantgarde

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20 Kas

Oops we did it again 😎

Son Dönemin En Rahatsız Edici Filmlerinden The Substance'in İncelemesi @eksiseyler

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    Art Reference in ‘Revenge (2017)’ Who is the real "target"? We examined the reference to Jasper Johns' Target with Four Faces in Coralie Fargeat's film Revenge. Jasper Johns’ Target with Four Faces and Coralie Fargeat’s Revenge establish a profound connection through themes of subject-object relationships, power dynamics, violence, and justice. Both works transform the audience into active participants and invite ethical questioning. While Revenge explores the boundaries of violence and revenge, Johns’ work addresses these themes on a more abstract level. Read the article at: https://kinoavantgarde.com/en/art-reference-in-revenge-2017/ #revenge #substance #thesubstance #coraliefargeat #jasperjohns #targetwithfourfaces
    Art Reference in ‘Revenge (2017)’ Who is the real "target"? We examined the reference to Jasper Johns' Target with Four Faces in Coralie Fargeat's film Revenge. Jasper Johns’ Target with Four Faces and Coralie Fargeat’s Revenge establish a profound connection through themes of subject-object relationships, power dynamics, violence, and justice. Both works transform the audience into active participants and invite ethical questioning. While Revenge explores the boundaries of violence and revenge, Johns’ work addresses these themes on a more abstract level. Read the article at: https://kinoavantgarde.com/en/art-reference-in-revenge-2017/ #revenge #substance #thesubstance #coraliefargeat #jasperjohns #targetwithfourfaces
    Art Reference in ‘Revenge (2017)’ Who is the real "target"? We examined the reference to Jasper Johns' Target with Four Faces in Coralie Fargeat's film Revenge. Jasper Johns’ Target with Four Faces and Coralie Fargeat’s Revenge establish a profound connection through themes of subject-object relationships, power dynamics, violence, and justice. Both works transform the audience into active participants and invite ethical questioning. While Revenge explores the boundaries of violence and revenge, Johns’ work addresses these themes on a more abstract level. Read the article at: https://kinoavantgarde.com/en/art-reference-in-revenge-2017/ #revenge #substance #thesubstance #coraliefargeat #jasperjohns #targetwithfourfaces
    Art Reference in ‘Revenge (2017)’ Who is the real "target"? We examined the reference to Jasper Johns' Target with Four Faces in Coralie Fargeat's film Revenge. Jasper Johns’ Target with Four Faces and Coralie Fargeat’s Revenge establish a profound connection through themes of subject-object relationships, power dynamics, violence, and justice. Both works transform the audience into active participants and invite ethical questioning. While Revenge explores the boundaries of violence and revenge, Johns’ work addresses these themes on a more abstract level. Read the article at: https://kinoavantgarde.com/en/art-reference-in-revenge-2017/ #revenge #substance #thesubstance #coraliefargeat #jasperjohns #targetwithfourfaces
    Art Reference in ‘Revenge (2017)’ Who is the real "target"? We examined the reference to Jasper Johns' Target with Four Faces in Coralie Fargeat's film Revenge. Jasper Johns’ Target with Four Faces and Coralie Fargeat’s Revenge establish a profound connection through themes of subject-object relationships, power dynamics, violence, and justice. Both works transform the audience into active participants and invite ethical questioning. While Revenge explores the boundaries of violence and revenge, Johns’ work addresses these themes on a more abstract level. Read the article at: https://kinoavantgarde.com/en/art-reference-in-revenge-2017/ #revenge #substance #thesubstance #coraliefargeat #jasperjohns #targetwithfourfaces
    Art Reference in ‘Revenge (2017)’ Who is the real "target"? We examined the reference to Jasper Johns' Target with Four Faces in Coralie Fargeat's film Revenge. Jasper Johns’ Target with Four Faces and Coralie Fargeat’s Revenge establish a profound connection through themes of subject-object relationships, power dynamics, violence, and justice. Both works transform the audience into active participants and invite ethical questioning. While Revenge explores the boundaries of violence and revenge, Johns’ work addresses these themes on a more abstract level. Read the article at: https://kinoavantgarde.com/en/art-reference-in-revenge-2017/ #revenge #substance #thesubstance #coraliefargeat #jasperjohns #targetwithfourfaces
    Art Reference in ‘Revenge (2017)’ Who is the real "target"? We examined the reference to Jasper Johns' Target with Four Faces in Coralie Fargeat's film Revenge. Jasper Johns’ Target with Four Faces and Coralie Fargeat’s Revenge establish a profound connection through themes of subject-object relationships, power dynamics, violence, and justice. Both works transform the audience into active participants and invite ethical questioning. While Revenge explores the boundaries of violence and revenge, Johns’ work addresses these themes on a more abstract level. Read the article at: https://kinoavantgarde.com/en/art-reference-in-revenge-2017/ #revenge #substance #thesubstance #coraliefargeat #jasperjohns #targetwithfourfaces
    Art Reference in ‘Revenge (2017)’ Who is the real "target"? We examined the reference to Jasper Johns' Target with Four Faces in Coralie Fargeat's film Revenge. Jasper Johns’ Target with Four Faces and Coralie Fargeat’s Revenge establish a profound connection through themes of subject-object relationships, power dynamics, violence, and justice. Both works transform the audience into active participants and invite ethical questioning. While Revenge explores the boundaries of violence and revenge, Johns’ work addresses these themes on a more abstract level. Read the article at: https://kinoavantgarde.com/en/art-reference-in-revenge-2017/ #revenge #substance #thesubstance #coraliefargeat #jasperjohns #targetwithfourfaces
    Art Reference in ‘Revenge (2017)’ Who is the real "target"? We examined the reference to Jasper Johns' Target with Four Faces in Coralie Fargeat's film Revenge. Jasper Johns’ Target with Four Faces and Coralie Fargeat’s Revenge establish a profound connection through themes of subject-object relationships, power dynamics, violence, and justice. Both works transform the audience into active participants and invite ethical questioning. While Revenge explores the boundaries of violence and revenge, Johns’ work addresses these themes on a more abstract level. Read the article at: https://kinoavantgarde.com/en/art-reference-in-revenge-2017/ #revenge #substance #thesubstance #coraliefargeat #jasperjohns #targetwithfourfaces
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    Art Reference in ‘Revenge (2017)’ Who is the real "target"? We examined the reference to Jasper Johns' Target with Four Faces in Coralie Fargeat's film Revenge. Jasper Johns’ Target with Four Faces and Coralie Fargeat’s Revenge establish a profound connection through themes of subject-object relationships, power dynamics, violence, and justice. Both works transform the audience into active participants and invite ethical questioning. While Revenge explores the boundaries of violence and revenge, Johns’ work addresses these themes on a more abstract level. Read the article at: https://kinoavantgarde.com/en/art-reference-in-revenge-2017/ #revenge #substance #thesubstance #coraliefargeat #jasperjohns #targetwithfourfaces
    3 gün ago
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    3 gün ago
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    📽️ Focus: MULHOLLAND DR. (2001) dir. David Lynch We continue to delve into the depths of Mulholland Dr., whose analysis and artistic references we've previously explored (check out: www.kinoavantgarde.com/en/). This piece here will serve as a complementary addition to our prior review, focusing on two key areas: •Film References – Sunset Blvd., Le Mépris, The Wizard of Oz, Inland Empire, and Gilda •The Dream World and Shifting Identities: Betty & Camilla and the Others ••• Daha önce analizini yaptığımız ve sanatsal referanslarını incelediğimiz (detaylar: www.kinoavantgarde.com) Mulholland Dr.’ın derinliklerine inmeye devam ediyoruz. Bu yazı, daha önceki incelememizi tamamlayıcı olarak iki konuya odaklanacak: •Film Referansları– Sunset Blvd., Le Mépris, Oz Büyücüsü, Inland Empire ve Gilda •Rüya Alemi ve Değişen Kimlikler - Betty & Camilla ve Diğerleri #mulhollanddr #davidlynch
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    📽️ Focus: MULHOLLAND DR. (2001) dir. David Lynch We continue to delve into the depths of Mulholland Dr., whose analysis and artistic references we've previously explored (check out: www.kinoavantgarde.com/en/). This piece here will serve as a complementary addition to our prior review, focusing on two key areas: •Film References – Sunset Blvd., Le Mépris, The Wizard of Oz, Inland Empire, and Gilda •The Dream World and Shifting Identities: Betty & Camilla and the Others ••• Daha önce analizini yaptığımız ve sanatsal referanslarını incelediğimiz (detaylar: www.kinoavantgarde.com) Mulholland Dr.’ın derinliklerine inmeye devam ediyoruz. Bu yazı, daha önceki incelememizi tamamlayıcı olarak iki konuya odaklanacak: •Film Referansları– Sunset Blvd., Le Mépris, Oz Büyücüsü, Inland Empire ve Gilda •Rüya Alemi ve Değişen Kimlikler - Betty & Camilla ve Diğerleri #mulhollanddr #davidlynch
    1 hafta ago
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    3/8
    Mulholland Dr. (2001) Drama | Mystery | Thriller France | USA 2′ 7″ No hay banda! In this analysis of Mulholland Drive, we delve into the intricate layers of Lynch’s surreal narrative, where the boundaries between reality and dream blur into an indistinguishable haze. The film explores themes of identity, guilt, and the subconscious, using symbols like the blue and red transitions, the Club Silencio scene, and the fragmented nature of Diane’s psyche to reflect the human condition. Through a lens shaped by Lynch’s Buddhist influences and his masterful use of psychological horror, we uncover a story of personal breakdown, self-delusion, and an inevitable confrontation with the self. As Diane navigates the labyrinth of her mind, we too are invited to confront the mirrors within ourselves, leading to an unsettling yet profound understanding of the elusive nature of truth and the silence that follows. Read the review at: https://kinoavantgarde.com/en/mulholland-dr-2001-2/
    Mulholland Dr. (2001) Drama | Mystery | Thriller France | USA 2′ 7″ No hay banda! In this analysis of Mulholland Drive, we delve into the intricate layers of Lynch’s surreal narrative, where the boundaries between reality and dream blur into an indistinguishable haze. The film explores themes of identity, guilt, and the subconscious, using symbols like the blue and red transitions, the Club Silencio scene, and the fragmented nature of Diane’s psyche to reflect the human condition. Through a lens shaped by Lynch’s Buddhist influences and his masterful use of psychological horror, we uncover a story of personal breakdown, self-delusion, and an inevitable confrontation with the self. As Diane navigates the labyrinth of her mind, we too are invited to confront the mirrors within ourselves, leading to an unsettling yet profound understanding of the elusive nature of truth and the silence that follows. Read the review at: https://kinoavantgarde.com/en/mulholland-dr-2001-2/
    Mulholland Dr. (2001) Drama | Mystery | Thriller France | USA 2′ 7″ No hay banda! In this analysis of Mulholland Drive, we delve into the intricate layers of Lynch’s surreal narrative, where the boundaries between reality and dream blur into an indistinguishable haze. The film explores themes of identity, guilt, and the subconscious, using symbols like the blue and red transitions, the Club Silencio scene, and the fragmented nature of Diane’s psyche to reflect the human condition. Through a lens shaped by Lynch’s Buddhist influences and his masterful use of psychological horror, we uncover a story of personal breakdown, self-delusion, and an inevitable confrontation with the self. As Diane navigates the labyrinth of her mind, we too are invited to confront the mirrors within ourselves, leading to an unsettling yet profound understanding of the elusive nature of truth and the silence that follows. Read the review at: https://kinoavantgarde.com/en/mulholland-dr-2001-2/
    Mulholland Dr. (2001) Drama | Mystery | Thriller France | USA 2′ 7″ No hay banda! In this analysis of Mulholland Drive, we delve into the intricate layers of Lynch’s surreal narrative, where the boundaries between reality and dream blur into an indistinguishable haze. The film explores themes of identity, guilt, and the subconscious, using symbols like the blue and red transitions, the Club Silencio scene, and the fragmented nature of Diane’s psyche to reflect the human condition. Through a lens shaped by Lynch’s Buddhist influences and his masterful use of psychological horror, we uncover a story of personal breakdown, self-delusion, and an inevitable confrontation with the self. As Diane navigates the labyrinth of her mind, we too are invited to confront the mirrors within ourselves, leading to an unsettling yet profound understanding of the elusive nature of truth and the silence that follows. Read the review at: https://kinoavantgarde.com/en/mulholland-dr-2001-2/
    Mulholland Dr. (2001) Drama | Mystery | Thriller France | USA 2′ 7″ No hay banda! In this analysis of Mulholland Drive, we delve into the intricate layers of Lynch’s surreal narrative, where the boundaries between reality and dream blur into an indistinguishable haze. The film explores themes of identity, guilt, and the subconscious, using symbols like the blue and red transitions, the Club Silencio scene, and the fragmented nature of Diane’s psyche to reflect the human condition. Through a lens shaped by Lynch’s Buddhist influences and his masterful use of psychological horror, we uncover a story of personal breakdown, self-delusion, and an inevitable confrontation with the self. As Diane navigates the labyrinth of her mind, we too are invited to confront the mirrors within ourselves, leading to an unsettling yet profound understanding of the elusive nature of truth and the silence that follows. Read the review at: https://kinoavantgarde.com/en/mulholland-dr-2001-2/
    Mulholland Dr. (2001) Drama | Mystery | Thriller France | USA 2′ 7″ No hay banda! In this analysis of Mulholland Drive, we delve into the intricate layers of Lynch’s surreal narrative, where the boundaries between reality and dream blur into an indistinguishable haze. The film explores themes of identity, guilt, and the subconscious, using symbols like the blue and red transitions, the Club Silencio scene, and the fragmented nature of Diane’s psyche to reflect the human condition. Through a lens shaped by Lynch’s Buddhist influences and his masterful use of psychological horror, we uncover a story of personal breakdown, self-delusion, and an inevitable confrontation with the self. As Diane navigates the labyrinth of her mind, we too are invited to confront the mirrors within ourselves, leading to an unsettling yet profound understanding of the elusive nature of truth and the silence that follows. Read the review at: https://kinoavantgarde.com/en/mulholland-dr-2001-2/
    Mulholland Dr. (2001) Drama | Mystery | Thriller France | USA 2′ 7″ No hay banda! In this analysis of Mulholland Drive, we delve into the intricate layers of Lynch’s surreal narrative, where the boundaries between reality and dream blur into an indistinguishable haze. The film explores themes of identity, guilt, and the subconscious, using symbols like the blue and red transitions, the Club Silencio scene, and the fragmented nature of Diane’s psyche to reflect the human condition. Through a lens shaped by Lynch’s Buddhist influences and his masterful use of psychological horror, we uncover a story of personal breakdown, self-delusion, and an inevitable confrontation with the self. As Diane navigates the labyrinth of her mind, we too are invited to confront the mirrors within ourselves, leading to an unsettling yet profound understanding of the elusive nature of truth and the silence that follows. Read the review at: https://kinoavantgarde.com/en/mulholland-dr-2001-2/
    Mulholland Dr. (2001) Drama | Mystery | Thriller France | USA 2′ 7″ No hay banda! In this analysis of Mulholland Drive, we delve into the intricate layers of Lynch’s surreal narrative, where the boundaries between reality and dream blur into an indistinguishable haze. The film explores themes of identity, guilt, and the subconscious, using symbols like the blue and red transitions, the Club Silencio scene, and the fragmented nature of Diane’s psyche to reflect the human condition. Through a lens shaped by Lynch’s Buddhist influences and his masterful use of psychological horror, we uncover a story of personal breakdown, self-delusion, and an inevitable confrontation with the self. As Diane navigates the labyrinth of her mind, we too are invited to confront the mirrors within ourselves, leading to an unsettling yet profound understanding of the elusive nature of truth and the silence that follows. Read the review at: https://kinoavantgarde.com/en/mulholland-dr-2001-2/
    Mulholland Dr. (2001) Drama | Mystery | Thriller France | USA 2′ 7″ No hay banda! In this analysis of Mulholland Drive, we delve into the intricate layers of Lynch’s surreal narrative, where the boundaries between reality and dream blur into an indistinguishable haze. The film explores themes of identity, guilt, and the subconscious, using symbols like the blue and red transitions, the Club Silencio scene, and the fragmented nature of Diane’s psyche to reflect the human condition. Through a lens shaped by Lynch’s Buddhist influences and his masterful use of psychological horror, we uncover a story of personal breakdown, self-delusion, and an inevitable confrontation with the self. As Diane navigates the labyrinth of her mind, we too are invited to confront the mirrors within ourselves, leading to an unsettling yet profound understanding of the elusive nature of truth and the silence that follows. Read the review at: https://kinoavantgarde.com/en/mulholland-dr-2001-2/
    Mulholland Dr. (2001) Drama | Mystery | Thriller France | USA 2′ 7″ No hay banda! In this analysis of Mulholland Drive, we delve into the intricate layers of Lynch’s surreal narrative, where the boundaries between reality and dream blur into an indistinguishable haze. The film explores themes of identity, guilt, and the subconscious, using symbols like the blue and red transitions, the Club Silencio scene, and the fragmented nature of Diane’s psyche to reflect the human condition. Through a lens shaped by Lynch’s Buddhist influences and his masterful use of psychological horror, we uncover a story of personal breakdown, self-delusion, and an inevitable confrontation with the self. As Diane navigates the labyrinth of her mind, we too are invited to confront the mirrors within ourselves, leading to an unsettling yet profound understanding of the elusive nature of truth and the silence that follows. Read the review at: https://kinoavantgarde.com/en/mulholland-dr-2001-2/
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    Mulholland Dr. (2001) Drama | Mystery | Thriller France | USA 2′ 7″ No hay banda! In this analysis of Mulholland Drive, we delve into the intricate layers of Lynch’s surreal narrative, where the boundaries between reality and dream blur into an indistinguishable haze. The film explores themes of identity, guilt, and the subconscious, using symbols like the blue and red transitions, the Club Silencio scene, and the fragmented nature of Diane’s psyche to reflect the human condition. Through a lens shaped by Lynch’s Buddhist influences and his masterful use of psychological horror, we uncover a story of personal breakdown, self-delusion, and an inevitable confrontation with the self. As Diane navigates the labyrinth of her mind, we too are invited to confront the mirrors within ourselves, leading to an unsettling yet profound understanding of the elusive nature of truth and the silence that follows. Read the review at: https://kinoavantgarde.com/en/mulholland-dr-2001-2/
    2 hafta ago
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    4/8
    The Room Next Door (2024) Pedro Almodóvar 1'47" Drama Spain, US & People in the Sun (1957) by Edward Hopper Director's choice to film in English (i.e., outside his native language) I believe did not end up very well. Two global stars in the lead roles and a script with the potential for powerful drama were not utilized at its best. The final blow came from artificial, haphazardly scattered dialogues and an overwhelmingly dominant non-diegetic score. You can read the full review of the film at https://kinoavantgarde.com/en/the-room-next-door-2024-2/. Here, though, I'll just focus on the one enjoyable aspect of the film. One of the film’s most notable references is Edward Hopper’s painting People in the Sun (1957). The painting, which greets Martha in the isolated house where she withdraws to face her imminent death, is no random choice. Though at first glance it may symbolize rest and peace, as in much of Hopper’s work, there is a deeper story beneath the calm surface. The five figures lounging on deck chairs appear disconnected and isolated, with expressionless faces that form nearly no connection to each other or their surroundings. Although they sit facing the sun, the figures contrast sharply with the scene’s captivating landscape, reflecting an inner stasis and detachment. People in the Sun suggests that even in scenarios that appear as a retreat or escape, genuine peace remains elusive. The setting thus becomes a kind of cage for Martha, who embraces death, and Ingrid, who is learning to face it. Both will eventually be released from this confrontation, ending the film amid snowflakes and birdsong. #pedroalmodovar #theroomnextdoor #tildaswinton #juliannemoore #venice
    The Room Next Door (2024) Pedro Almodóvar 1'47" Drama Spain, US & People in the Sun (1957) by Edward Hopper Director's choice to film in English (i.e., outside his native language) I believe did not end up very well. Two global stars in the lead roles and a script with the potential for powerful drama were not utilized at its best. The final blow came from artificial, haphazardly scattered dialogues and an overwhelmingly dominant non-diegetic score. You can read the full review of the film at https://kinoavantgarde.com/en/the-room-next-door-2024-2/. Here, though, I'll just focus on the one enjoyable aspect of the film. One of the film’s most notable references is Edward Hopper’s painting People in the Sun (1957). The painting, which greets Martha in the isolated house where she withdraws to face her imminent death, is no random choice. Though at first glance it may symbolize rest and peace, as in much of Hopper’s work, there is a deeper story beneath the calm surface. The five figures lounging on deck chairs appear disconnected and isolated, with expressionless faces that form nearly no connection to each other or their surroundings. Although they sit facing the sun, the figures contrast sharply with the scene’s captivating landscape, reflecting an inner stasis and detachment. People in the Sun suggests that even in scenarios that appear as a retreat or escape, genuine peace remains elusive. The setting thus becomes a kind of cage for Martha, who embraces death, and Ingrid, who is learning to face it. Both will eventually be released from this confrontation, ending the film amid snowflakes and birdsong. #pedroalmodovar #theroomnextdoor #tildaswinton #juliannemoore #venice
    The Room Next Door (2024) Pedro Almodóvar 1'47" Drama Spain, US & People in the Sun (1957) by Edward Hopper Director's choice to film in English (i.e., outside his native language) I believe did not end up very well. Two global stars in the lead roles and a script with the potential for powerful drama were not utilized at its best. The final blow came from artificial, haphazardly scattered dialogues and an overwhelmingly dominant non-diegetic score. You can read the full review of the film at https://kinoavantgarde.com/en/the-room-next-door-2024-2/. Here, though, I'll just focus on the one enjoyable aspect of the film. One of the film’s most notable references is Edward Hopper’s painting People in the Sun (1957). The painting, which greets Martha in the isolated house where she withdraws to face her imminent death, is no random choice. Though at first glance it may symbolize rest and peace, as in much of Hopper’s work, there is a deeper story beneath the calm surface. The five figures lounging on deck chairs appear disconnected and isolated, with expressionless faces that form nearly no connection to each other or their surroundings. Although they sit facing the sun, the figures contrast sharply with the scene’s captivating landscape, reflecting an inner stasis and detachment. People in the Sun suggests that even in scenarios that appear as a retreat or escape, genuine peace remains elusive. The setting thus becomes a kind of cage for Martha, who embraces death, and Ingrid, who is learning to face it. Both will eventually be released from this confrontation, ending the film amid snowflakes and birdsong. #pedroalmodovar #theroomnextdoor #tildaswinton #juliannemoore #venice
    The Room Next Door (2024) Pedro Almodóvar 1'47" Drama Spain, US & People in the Sun (1957) by Edward Hopper Director's choice to film in English (i.e., outside his native language) I believe did not end up very well. Two global stars in the lead roles and a script with the potential for powerful drama were not utilized at its best. The final blow came from artificial, haphazardly scattered dialogues and an overwhelmingly dominant non-diegetic score. You can read the full review of the film at https://kinoavantgarde.com/en/the-room-next-door-2024-2/. Here, though, I'll just focus on the one enjoyable aspect of the film. One of the film’s most notable references is Edward Hopper’s painting People in the Sun (1957). The painting, which greets Martha in the isolated house where she withdraws to face her imminent death, is no random choice. Though at first glance it may symbolize rest and peace, as in much of Hopper’s work, there is a deeper story beneath the calm surface. The five figures lounging on deck chairs appear disconnected and isolated, with expressionless faces that form nearly no connection to each other or their surroundings. Although they sit facing the sun, the figures contrast sharply with the scene’s captivating landscape, reflecting an inner stasis and detachment. People in the Sun suggests that even in scenarios that appear as a retreat or escape, genuine peace remains elusive. The setting thus becomes a kind of cage for Martha, who embraces death, and Ingrid, who is learning to face it. Both will eventually be released from this confrontation, ending the film amid snowflakes and birdsong. #pedroalmodovar #theroomnextdoor #tildaswinton #juliannemoore #venice
    The Room Next Door (2024) Pedro Almodóvar 1'47" Drama Spain, US & People in the Sun (1957) by Edward Hopper Director's choice to film in English (i.e., outside his native language) I believe did not end up very well. Two global stars in the lead roles and a script with the potential for powerful drama were not utilized at its best. The final blow came from artificial, haphazardly scattered dialogues and an overwhelmingly dominant non-diegetic score. You can read the full review of the film at https://kinoavantgarde.com/en/the-room-next-door-2024-2/. Here, though, I'll just focus on the one enjoyable aspect of the film. One of the film’s most notable references is Edward Hopper’s painting People in the Sun (1957). The painting, which greets Martha in the isolated house where she withdraws to face her imminent death, is no random choice. Though at first glance it may symbolize rest and peace, as in much of Hopper’s work, there is a deeper story beneath the calm surface. The five figures lounging on deck chairs appear disconnected and isolated, with expressionless faces that form nearly no connection to each other or their surroundings. Although they sit facing the sun, the figures contrast sharply with the scene’s captivating landscape, reflecting an inner stasis and detachment. People in the Sun suggests that even in scenarios that appear as a retreat or escape, genuine peace remains elusive. The setting thus becomes a kind of cage for Martha, who embraces death, and Ingrid, who is learning to face it. Both will eventually be released from this confrontation, ending the film amid snowflakes and birdsong. #pedroalmodovar #theroomnextdoor #tildaswinton #juliannemoore #venice
    The Room Next Door (2024) Pedro Almodóvar 1'47" Drama Spain, US & People in the Sun (1957) by Edward Hopper Director's choice to film in English (i.e., outside his native language) I believe did not end up very well. Two global stars in the lead roles and a script with the potential for powerful drama were not utilized at its best. The final blow came from artificial, haphazardly scattered dialogues and an overwhelmingly dominant non-diegetic score. You can read the full review of the film at https://kinoavantgarde.com/en/the-room-next-door-2024-2/. Here, though, I'll just focus on the one enjoyable aspect of the film. One of the film’s most notable references is Edward Hopper’s painting People in the Sun (1957). The painting, which greets Martha in the isolated house where she withdraws to face her imminent death, is no random choice. Though at first glance it may symbolize rest and peace, as in much of Hopper’s work, there is a deeper story beneath the calm surface. The five figures lounging on deck chairs appear disconnected and isolated, with expressionless faces that form nearly no connection to each other or their surroundings. Although they sit facing the sun, the figures contrast sharply with the scene’s captivating landscape, reflecting an inner stasis and detachment. People in the Sun suggests that even in scenarios that appear as a retreat or escape, genuine peace remains elusive. The setting thus becomes a kind of cage for Martha, who embraces death, and Ingrid, who is learning to face it. Both will eventually be released from this confrontation, ending the film amid snowflakes and birdsong. #pedroalmodovar #theroomnextdoor #tildaswinton #juliannemoore #venice
    The Room Next Door (2024) Pedro Almodóvar 1'47" Drama Spain, US & People in the Sun (1957) by Edward Hopper Director's choice to film in English (i.e., outside his native language) I believe did not end up very well. Two global stars in the lead roles and a script with the potential for powerful drama were not utilized at its best. The final blow came from artificial, haphazardly scattered dialogues and an overwhelmingly dominant non-diegetic score. You can read the full review of the film at https://kinoavantgarde.com/en/the-room-next-door-2024-2/. Here, though, I'll just focus on the one enjoyable aspect of the film. One of the film’s most notable references is Edward Hopper’s painting People in the Sun (1957). The painting, which greets Martha in the isolated house where she withdraws to face her imminent death, is no random choice. Though at first glance it may symbolize rest and peace, as in much of Hopper’s work, there is a deeper story beneath the calm surface. The five figures lounging on deck chairs appear disconnected and isolated, with expressionless faces that form nearly no connection to each other or their surroundings. Although they sit facing the sun, the figures contrast sharply with the scene’s captivating landscape, reflecting an inner stasis and detachment. People in the Sun suggests that even in scenarios that appear as a retreat or escape, genuine peace remains elusive. The setting thus becomes a kind of cage for Martha, who embraces death, and Ingrid, who is learning to face it. Both will eventually be released from this confrontation, ending the film amid snowflakes and birdsong. #pedroalmodovar #theroomnextdoor #tildaswinton #juliannemoore #venice
    The Room Next Door (2024) Pedro Almodóvar 1'47" Drama Spain, US & People in the Sun (1957) by Edward Hopper Director's choice to film in English (i.e., outside his native language) I believe did not end up very well. Two global stars in the lead roles and a script with the potential for powerful drama were not utilized at its best. The final blow came from artificial, haphazardly scattered dialogues and an overwhelmingly dominant non-diegetic score. You can read the full review of the film at https://kinoavantgarde.com/en/the-room-next-door-2024-2/. Here, though, I'll just focus on the one enjoyable aspect of the film. One of the film’s most notable references is Edward Hopper’s painting People in the Sun (1957). The painting, which greets Martha in the isolated house where she withdraws to face her imminent death, is no random choice. Though at first glance it may symbolize rest and peace, as in much of Hopper’s work, there is a deeper story beneath the calm surface. The five figures lounging on deck chairs appear disconnected and isolated, with expressionless faces that form nearly no connection to each other or their surroundings. Although they sit facing the sun, the figures contrast sharply with the scene’s captivating landscape, reflecting an inner stasis and detachment. People in the Sun suggests that even in scenarios that appear as a retreat or escape, genuine peace remains elusive. The setting thus becomes a kind of cage for Martha, who embraces death, and Ingrid, who is learning to face it. Both will eventually be released from this confrontation, ending the film amid snowflakes and birdsong. #pedroalmodovar #theroomnextdoor #tildaswinton #juliannemoore #venice
    The Room Next Door (2024) Pedro Almodóvar 1'47" Drama Spain, US & People in the Sun (1957) by Edward Hopper Director's choice to film in English (i.e., outside his native language) I believe did not end up very well. Two global stars in the lead roles and a script with the potential for powerful drama were not utilized at its best. The final blow came from artificial, haphazardly scattered dialogues and an overwhelmingly dominant non-diegetic score. You can read the full review of the film at https://kinoavantgarde.com/en/the-room-next-door-2024-2/. Here, though, I'll just focus on the one enjoyable aspect of the film. One of the film’s most notable references is Edward Hopper’s painting People in the Sun (1957). The painting, which greets Martha in the isolated house where she withdraws to face her imminent death, is no random choice. Though at first glance it may symbolize rest and peace, as in much of Hopper’s work, there is a deeper story beneath the calm surface. The five figures lounging on deck chairs appear disconnected and isolated, with expressionless faces that form nearly no connection to each other or their surroundings. Although they sit facing the sun, the figures contrast sharply with the scene’s captivating landscape, reflecting an inner stasis and detachment. People in the Sun suggests that even in scenarios that appear as a retreat or escape, genuine peace remains elusive. The setting thus becomes a kind of cage for Martha, who embraces death, and Ingrid, who is learning to face it. Both will eventually be released from this confrontation, ending the film amid snowflakes and birdsong. #pedroalmodovar #theroomnextdoor #tildaswinton #juliannemoore #venice
    The Room Next Door (2024) Pedro Almodóvar 1'47" Drama Spain, US & People in the Sun (1957) by Edward Hopper Director's choice to film in English (i.e., outside his native language) I believe did not end up very well. Two global stars in the lead roles and a script with the potential for powerful drama were not utilized at its best. The final blow came from artificial, haphazardly scattered dialogues and an overwhelmingly dominant non-diegetic score. You can read the full review of the film at https://kinoavantgarde.com/en/the-room-next-door-2024-2/. Here, though, I'll just focus on the one enjoyable aspect of the film. One of the film’s most notable references is Edward Hopper’s painting People in the Sun (1957). The painting, which greets Martha in the isolated house where she withdraws to face her imminent death, is no random choice. Though at first glance it may symbolize rest and peace, as in much of Hopper’s work, there is a deeper story beneath the calm surface. The five figures lounging on deck chairs appear disconnected and isolated, with expressionless faces that form nearly no connection to each other or their surroundings. Although they sit facing the sun, the figures contrast sharply with the scene’s captivating landscape, reflecting an inner stasis and detachment. People in the Sun suggests that even in scenarios that appear as a retreat or escape, genuine peace remains elusive. The setting thus becomes a kind of cage for Martha, who embraces death, and Ingrid, who is learning to face it. Both will eventually be released from this confrontation, ending the film amid snowflakes and birdsong. #pedroalmodovar #theroomnextdoor #tildaswinton #juliannemoore #venice
    The Room Next Door (2024) Pedro Almodóvar 1'47" Drama Spain, US & People in the Sun (1957) by Edward Hopper Director's choice to film in English (i.e., outside his native language) I believe did not end up very well. Two global stars in the lead roles and a script with the potential for powerful drama were not utilized at its best. The final blow came from artificial, haphazardly scattered dialogues and an overwhelmingly dominant non-diegetic score. You can read the full review of the film at https://kinoavantgarde.com/en/the-room-next-door-2024-2/. Here, though, I'll just focus on the one enjoyable aspect of the film. One of the film’s most notable references is Edward Hopper’s painting People in the Sun (1957). The painting, which greets Martha in the isolated house where she withdraws to face her imminent death, is no random choice. Though at first glance it may symbolize rest and peace, as in much of Hopper’s work, there is a deeper story beneath the calm surface. The five figures lounging on deck chairs appear disconnected and isolated, with expressionless faces that form nearly no connection to each other or their surroundings. Although they sit facing the sun, the figures contrast sharply with the scene’s captivating landscape, reflecting an inner stasis and detachment. People in the Sun suggests that even in scenarios that appear as a retreat or escape, genuine peace remains elusive. The setting thus becomes a kind of cage for Martha, who embraces death, and Ingrid, who is learning to face it. Both will eventually be released from this confrontation, ending the film amid snowflakes and birdsong. #pedroalmodovar #theroomnextdoor #tildaswinton #juliannemoore #venice
    The Room Next Door (2024) Pedro Almodóvar 1'47" Drama Spain, US & People in the Sun (1957) by Edward Hopper Director's choice to film in English (i.e., outside his native language) I believe did not end up very well. Two global stars in the lead roles and a script with the potential for powerful drama were not utilized at its best. The final blow came from artificial, haphazardly scattered dialogues and an overwhelmingly dominant non-diegetic score. You can read the full review of the film at https://kinoavantgarde.com/en/the-room-next-door-2024-2/. Here, though, I'll just focus on the one enjoyable aspect of the film. One of the film’s most notable references is Edward Hopper’s painting People in the Sun (1957). The painting, which greets Martha in the isolated house where she withdraws to face her imminent death, is no random choice. Though at first glance it may symbolize rest and peace, as in much of Hopper’s work, there is a deeper story beneath the calm surface. The five figures lounging on deck chairs appear disconnected and isolated, with expressionless faces that form nearly no connection to each other or their surroundings. Although they sit facing the sun, the figures contrast sharply with the scene’s captivating landscape, reflecting an inner stasis and detachment. People in the Sun suggests that even in scenarios that appear as a retreat or escape, genuine peace remains elusive. The setting thus becomes a kind of cage for Martha, who embraces death, and Ingrid, who is learning to face it. Both will eventually be released from this confrontation, ending the film amid snowflakes and birdsong. #pedroalmodovar #theroomnextdoor #tildaswinton #juliannemoore #venice
    The Room Next Door (2024) Pedro Almodóvar 1'47" Drama Spain, US & People in the Sun (1957) by Edward Hopper Director's choice to film in English (i.e., outside his native language) I believe did not end up very well. Two global stars in the lead roles and a script with the potential for powerful drama were not utilized at its best. The final blow came from artificial, haphazardly scattered dialogues and an overwhelmingly dominant non-diegetic score. You can read the full review of the film at https://kinoavantgarde.com/en/the-room-next-door-2024-2/. Here, though, I'll just focus on the one enjoyable aspect of the film. One of the film’s most notable references is Edward Hopper’s painting People in the Sun (1957). The painting, which greets Martha in the isolated house where she withdraws to face her imminent death, is no random choice. Though at first glance it may symbolize rest and peace, as in much of Hopper’s work, there is a deeper story beneath the calm surface. The five figures lounging on deck chairs appear disconnected and isolated, with expressionless faces that form nearly no connection to each other or their surroundings. Although they sit facing the sun, the figures contrast sharply with the scene’s captivating landscape, reflecting an inner stasis and detachment. People in the Sun suggests that even in scenarios that appear as a retreat or escape, genuine peace remains elusive. The setting thus becomes a kind of cage for Martha, who embraces death, and Ingrid, who is learning to face it. Both will eventually be released from this confrontation, ending the film amid snowflakes and birdsong. #pedroalmodovar #theroomnextdoor #tildaswinton #juliannemoore #venice
    The Room Next Door (2024) Pedro Almodóvar 1'47" Drama Spain, US & People in the Sun (1957) by Edward Hopper Director's choice to film in English (i.e., outside his native language) I believe did not end up very well. Two global stars in the lead roles and a script with the potential for powerful drama were not utilized at its best. The final blow came from artificial, haphazardly scattered dialogues and an overwhelmingly dominant non-diegetic score. You can read the full review of the film at https://kinoavantgarde.com/en/the-room-next-door-2024-2/. Here, though, I'll just focus on the one enjoyable aspect of the film. One of the film’s most notable references is Edward Hopper’s painting People in the Sun (1957). The painting, which greets Martha in the isolated house where she withdraws to face her imminent death, is no random choice. Though at first glance it may symbolize rest and peace, as in much of Hopper’s work, there is a deeper story beneath the calm surface. The five figures lounging on deck chairs appear disconnected and isolated, with expressionless faces that form nearly no connection to each other or their surroundings. Although they sit facing the sun, the figures contrast sharply with the scene’s captivating landscape, reflecting an inner stasis and detachment. People in the Sun suggests that even in scenarios that appear as a retreat or escape, genuine peace remains elusive. The setting thus becomes a kind of cage for Martha, who embraces death, and Ingrid, who is learning to face it. Both will eventually be released from this confrontation, ending the film amid snowflakes and birdsong. #pedroalmodovar #theroomnextdoor #tildaswinton #juliannemoore #venice
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    The Room Next Door (2024) Pedro Almodóvar 1'47" Drama Spain, US & People in the Sun (1957) by Edward Hopper Director's choice to film in English (i.e., outside his native language) I believe did not end up very well. Two global stars in the lead roles and a script with the potential for powerful drama were not utilized at its best. The final blow came from artificial, haphazardly scattered dialogues and an overwhelmingly dominant non-diegetic score. You can read the full review of the film at https://kinoavantgarde.com/en/the-room-next-door-2024-2/. Here, though, I'll just focus on the one enjoyable aspect of the film. One of the film’s most notable references is Edward Hopper’s painting People in the Sun (1957). The painting, which greets Martha in the isolated house where she withdraws to face her imminent death, is no random choice. Though at first glance it may symbolize rest and peace, as in much of Hopper’s work, there is a deeper story beneath the calm surface. The five figures lounging on deck chairs appear disconnected and isolated, with expressionless faces that form nearly no connection to each other or their surroundings. Although they sit facing the sun, the figures contrast sharply with the scene’s captivating landscape, reflecting an inner stasis and detachment. People in the Sun suggests that even in scenarios that appear as a retreat or escape, genuine peace remains elusive. The setting thus becomes a kind of cage for Martha, who embraces death, and Ingrid, who is learning to face it. Both will eventually be released from this confrontation, ending the film amid snowflakes and birdsong. #pedroalmodovar #theroomnextdoor #tildaswinton #juliannemoore #venice
    2 hafta ago
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    5/8
    Parthenope (2024) Paolo Sorrentino 136' Fantasy, Drama Italy, France In Sorrentino's last poem written by his camera, Parthenope witness a woman’s life journey spanning more than half a century. Parthenope captures the soul of Naples, the city’s deep complexities, and the faces that bear the traces of love, freedom, and lost time, all of which are integral to its essence. With Daria D’Antonio’s striking cinematography and Sorrentino’s enchanting storytelling, the film captures both ordinary and unforgettable moments in this ancient city. From Parthenope’s birth in 1950 to the present, this life journey presents a tale of a woman filled with an intense passion, not for heroism, but for freedom, Naples, and all the faces of love— real, complex, and indescribable. The perfect summers of Capri, the carefree days of youth, and a period that ends with an unexpected ambush... And then there are the others— Neapolitans, men and women, observed and loved, full of disappointment but also of life; waves of melancholy, tragic ironies, and sorrowful glances. Whether ordinary or extraordinary, they understand how long life can be. The passage of time opens up a wide range of emotions. All the while, Naples serves as both a distant and close backdrop; this indescribable city mesmerizes, laughs, and always knows how to hurt you. Sorrentino’s “Parthenope” immortalizes both a life and a city, offering an epic filled with ghostly voices, sorrowful glances, and love that defies time as it rises from the streets of Naples. As both a city and a character, Naples takes center stage, leaving the audience with a captivating poem filled with the traces of a life. “Parthenope” serves as an elegy, reminding us of the priceless value of every moment within the endless cycle of life, whether ordinary or extraordinary. Review: https://kinoavantgarde.com/en/parthenope-2024-2/ #parthenope #paolosorrentino #cannes #drama
    Parthenope (2024) Paolo Sorrentino 136' Fantasy, Drama Italy, France In Sorrentino's last poem written by his camera, Parthenope witness a woman’s life journey spanning more than half a century. Parthenope captures the soul of Naples, the city’s deep complexities, and the faces that bear the traces of love, freedom, and lost time, all of which are integral to its essence. With Daria D’Antonio’s striking cinematography and Sorrentino’s enchanting storytelling, the film captures both ordinary and unforgettable moments in this ancient city. From Parthenope’s birth in 1950 to the present, this life journey presents a tale of a woman filled with an intense passion, not for heroism, but for freedom, Naples, and all the faces of love— real, complex, and indescribable. The perfect summers of Capri, the carefree days of youth, and a period that ends with an unexpected ambush... And then there are the others— Neapolitans, men and women, observed and loved, full of disappointment but also of life; waves of melancholy, tragic ironies, and sorrowful glances. Whether ordinary or extraordinary, they understand how long life can be. The passage of time opens up a wide range of emotions. All the while, Naples serves as both a distant and close backdrop; this indescribable city mesmerizes, laughs, and always knows how to hurt you. Sorrentino’s “Parthenope” immortalizes both a life and a city, offering an epic filled with ghostly voices, sorrowful glances, and love that defies time as it rises from the streets of Naples. As both a city and a character, Naples takes center stage, leaving the audience with a captivating poem filled with the traces of a life. “Parthenope” serves as an elegy, reminding us of the priceless value of every moment within the endless cycle of life, whether ordinary or extraordinary. Review: https://kinoavantgarde.com/en/parthenope-2024-2/ #parthenope #paolosorrentino #cannes #drama
    Parthenope (2024) Paolo Sorrentino 136' Fantasy, Drama Italy, France In Sorrentino's last poem written by his camera, Parthenope witness a woman’s life journey spanning more than half a century. Parthenope captures the soul of Naples, the city’s deep complexities, and the faces that bear the traces of love, freedom, and lost time, all of which are integral to its essence. With Daria D’Antonio’s striking cinematography and Sorrentino’s enchanting storytelling, the film captures both ordinary and unforgettable moments in this ancient city. From Parthenope’s birth in 1950 to the present, this life journey presents a tale of a woman filled with an intense passion, not for heroism, but for freedom, Naples, and all the faces of love— real, complex, and indescribable. The perfect summers of Capri, the carefree days of youth, and a period that ends with an unexpected ambush... And then there are the others— Neapolitans, men and women, observed and loved, full of disappointment but also of life; waves of melancholy, tragic ironies, and sorrowful glances. Whether ordinary or extraordinary, they understand how long life can be. The passage of time opens up a wide range of emotions. All the while, Naples serves as both a distant and close backdrop; this indescribable city mesmerizes, laughs, and always knows how to hurt you. Sorrentino’s “Parthenope” immortalizes both a life and a city, offering an epic filled with ghostly voices, sorrowful glances, and love that defies time as it rises from the streets of Naples. As both a city and a character, Naples takes center stage, leaving the audience with a captivating poem filled with the traces of a life. “Parthenope” serves as an elegy, reminding us of the priceless value of every moment within the endless cycle of life, whether ordinary or extraordinary. Review: https://kinoavantgarde.com/en/parthenope-2024-2/ #parthenope #paolosorrentino #cannes #drama
    Parthenope (2024) Paolo Sorrentino 136' Fantasy, Drama Italy, France In Sorrentino's last poem written by his camera, Parthenope witness a woman’s life journey spanning more than half a century. Parthenope captures the soul of Naples, the city’s deep complexities, and the faces that bear the traces of love, freedom, and lost time, all of which are integral to its essence. With Daria D’Antonio’s striking cinematography and Sorrentino’s enchanting storytelling, the film captures both ordinary and unforgettable moments in this ancient city. From Parthenope’s birth in 1950 to the present, this life journey presents a tale of a woman filled with an intense passion, not for heroism, but for freedom, Naples, and all the faces of love— real, complex, and indescribable. The perfect summers of Capri, the carefree days of youth, and a period that ends with an unexpected ambush... And then there are the others— Neapolitans, men and women, observed and loved, full of disappointment but also of life; waves of melancholy, tragic ironies, and sorrowful glances. Whether ordinary or extraordinary, they understand how long life can be. The passage of time opens up a wide range of emotions. All the while, Naples serves as both a distant and close backdrop; this indescribable city mesmerizes, laughs, and always knows how to hurt you. Sorrentino’s “Parthenope” immortalizes both a life and a city, offering an epic filled with ghostly voices, sorrowful glances, and love that defies time as it rises from the streets of Naples. As both a city and a character, Naples takes center stage, leaving the audience with a captivating poem filled with the traces of a life. “Parthenope” serves as an elegy, reminding us of the priceless value of every moment within the endless cycle of life, whether ordinary or extraordinary. Review: https://kinoavantgarde.com/en/parthenope-2024-2/ #parthenope #paolosorrentino #cannes #drama
    Parthenope (2024) Paolo Sorrentino 136' Fantasy, Drama Italy, France In Sorrentino's last poem written by his camera, Parthenope witness a woman’s life journey spanning more than half a century. Parthenope captures the soul of Naples, the city’s deep complexities, and the faces that bear the traces of love, freedom, and lost time, all of which are integral to its essence. With Daria D’Antonio’s striking cinematography and Sorrentino’s enchanting storytelling, the film captures both ordinary and unforgettable moments in this ancient city. From Parthenope’s birth in 1950 to the present, this life journey presents a tale of a woman filled with an intense passion, not for heroism, but for freedom, Naples, and all the faces of love— real, complex, and indescribable. The perfect summers of Capri, the carefree days of youth, and a period that ends with an unexpected ambush... And then there are the others— Neapolitans, men and women, observed and loved, full of disappointment but also of life; waves of melancholy, tragic ironies, and sorrowful glances. Whether ordinary or extraordinary, they understand how long life can be. The passage of time opens up a wide range of emotions. All the while, Naples serves as both a distant and close backdrop; this indescribable city mesmerizes, laughs, and always knows how to hurt you. Sorrentino’s “Parthenope” immortalizes both a life and a city, offering an epic filled with ghostly voices, sorrowful glances, and love that defies time as it rises from the streets of Naples. As both a city and a character, Naples takes center stage, leaving the audience with a captivating poem filled with the traces of a life. “Parthenope” serves as an elegy, reminding us of the priceless value of every moment within the endless cycle of life, whether ordinary or extraordinary. Review: https://kinoavantgarde.com/en/parthenope-2024-2/ #parthenope #paolosorrentino #cannes #drama
    Parthenope (2024) Paolo Sorrentino 136' Fantasy, Drama Italy, France In Sorrentino's last poem written by his camera, Parthenope witness a woman’s life journey spanning more than half a century. Parthenope captures the soul of Naples, the city’s deep complexities, and the faces that bear the traces of love, freedom, and lost time, all of which are integral to its essence. With Daria D’Antonio’s striking cinematography and Sorrentino’s enchanting storytelling, the film captures both ordinary and unforgettable moments in this ancient city. From Parthenope’s birth in 1950 to the present, this life journey presents a tale of a woman filled with an intense passion, not for heroism, but for freedom, Naples, and all the faces of love— real, complex, and indescribable. The perfect summers of Capri, the carefree days of youth, and a period that ends with an unexpected ambush... And then there are the others— Neapolitans, men and women, observed and loved, full of disappointment but also of life; waves of melancholy, tragic ironies, and sorrowful glances. Whether ordinary or extraordinary, they understand how long life can be. The passage of time opens up a wide range of emotions. All the while, Naples serves as both a distant and close backdrop; this indescribable city mesmerizes, laughs, and always knows how to hurt you. Sorrentino’s “Parthenope” immortalizes both a life and a city, offering an epic filled with ghostly voices, sorrowful glances, and love that defies time as it rises from the streets of Naples. As both a city and a character, Naples takes center stage, leaving the audience with a captivating poem filled with the traces of a life. “Parthenope” serves as an elegy, reminding us of the priceless value of every moment within the endless cycle of life, whether ordinary or extraordinary. Review: https://kinoavantgarde.com/en/parthenope-2024-2/ #parthenope #paolosorrentino #cannes #drama
    Parthenope (2024) Paolo Sorrentino 136' Fantasy, Drama Italy, France In Sorrentino's last poem written by his camera, Parthenope witness a woman’s life journey spanning more than half a century. Parthenope captures the soul of Naples, the city’s deep complexities, and the faces that bear the traces of love, freedom, and lost time, all of which are integral to its essence. With Daria D’Antonio’s striking cinematography and Sorrentino’s enchanting storytelling, the film captures both ordinary and unforgettable moments in this ancient city. From Parthenope’s birth in 1950 to the present, this life journey presents a tale of a woman filled with an intense passion, not for heroism, but for freedom, Naples, and all the faces of love— real, complex, and indescribable. The perfect summers of Capri, the carefree days of youth, and a period that ends with an unexpected ambush... And then there are the others— Neapolitans, men and women, observed and loved, full of disappointment but also of life; waves of melancholy, tragic ironies, and sorrowful glances. Whether ordinary or extraordinary, they understand how long life can be. The passage of time opens up a wide range of emotions. All the while, Naples serves as both a distant and close backdrop; this indescribable city mesmerizes, laughs, and always knows how to hurt you. Sorrentino’s “Parthenope” immortalizes both a life and a city, offering an epic filled with ghostly voices, sorrowful glances, and love that defies time as it rises from the streets of Naples. As both a city and a character, Naples takes center stage, leaving the audience with a captivating poem filled with the traces of a life. “Parthenope” serves as an elegy, reminding us of the priceless value of every moment within the endless cycle of life, whether ordinary or extraordinary. Review: https://kinoavantgarde.com/en/parthenope-2024-2/ #parthenope #paolosorrentino #cannes #drama
    Parthenope (2024) Paolo Sorrentino 136' Fantasy, Drama Italy, France In Sorrentino's last poem written by his camera, Parthenope witness a woman’s life journey spanning more than half a century. Parthenope captures the soul of Naples, the city’s deep complexities, and the faces that bear the traces of love, freedom, and lost time, all of which are integral to its essence. With Daria D’Antonio’s striking cinematography and Sorrentino’s enchanting storytelling, the film captures both ordinary and unforgettable moments in this ancient city. From Parthenope’s birth in 1950 to the present, this life journey presents a tale of a woman filled with an intense passion, not for heroism, but for freedom, Naples, and all the faces of love— real, complex, and indescribable. The perfect summers of Capri, the carefree days of youth, and a period that ends with an unexpected ambush... And then there are the others— Neapolitans, men and women, observed and loved, full of disappointment but also of life; waves of melancholy, tragic ironies, and sorrowful glances. Whether ordinary or extraordinary, they understand how long life can be. The passage of time opens up a wide range of emotions. All the while, Naples serves as both a distant and close backdrop; this indescribable city mesmerizes, laughs, and always knows how to hurt you. Sorrentino’s “Parthenope” immortalizes both a life and a city, offering an epic filled with ghostly voices, sorrowful glances, and love that defies time as it rises from the streets of Naples. As both a city and a character, Naples takes center stage, leaving the audience with a captivating poem filled with the traces of a life. “Parthenope” serves as an elegy, reminding us of the priceless value of every moment within the endless cycle of life, whether ordinary or extraordinary. Review: https://kinoavantgarde.com/en/parthenope-2024-2/ #parthenope #paolosorrentino #cannes #drama
    Parthenope (2024) Paolo Sorrentino 136' Fantasy, Drama Italy, France In Sorrentino's last poem written by his camera, Parthenope witness a woman’s life journey spanning more than half a century. Parthenope captures the soul of Naples, the city’s deep complexities, and the faces that bear the traces of love, freedom, and lost time, all of which are integral to its essence. With Daria D’Antonio’s striking cinematography and Sorrentino’s enchanting storytelling, the film captures both ordinary and unforgettable moments in this ancient city. From Parthenope’s birth in 1950 to the present, this life journey presents a tale of a woman filled with an intense passion, not for heroism, but for freedom, Naples, and all the faces of love— real, complex, and indescribable. The perfect summers of Capri, the carefree days of youth, and a period that ends with an unexpected ambush... And then there are the others— Neapolitans, men and women, observed and loved, full of disappointment but also of life; waves of melancholy, tragic ironies, and sorrowful glances. Whether ordinary or extraordinary, they understand how long life can be. The passage of time opens up a wide range of emotions. All the while, Naples serves as both a distant and close backdrop; this indescribable city mesmerizes, laughs, and always knows how to hurt you. Sorrentino’s “Parthenope” immortalizes both a life and a city, offering an epic filled with ghostly voices, sorrowful glances, and love that defies time as it rises from the streets of Naples. As both a city and a character, Naples takes center stage, leaving the audience with a captivating poem filled with the traces of a life. “Parthenope” serves as an elegy, reminding us of the priceless value of every moment within the endless cycle of life, whether ordinary or extraordinary. Review: https://kinoavantgarde.com/en/parthenope-2024-2/ #parthenope #paolosorrentino #cannes #drama
    Parthenope (2024) Paolo Sorrentino 136' Fantasy, Drama Italy, France In Sorrentino's last poem written by his camera, Parthenope witness a woman’s life journey spanning more than half a century. Parthenope captures the soul of Naples, the city’s deep complexities, and the faces that bear the traces of love, freedom, and lost time, all of which are integral to its essence. With Daria D’Antonio’s striking cinematography and Sorrentino’s enchanting storytelling, the film captures both ordinary and unforgettable moments in this ancient city. From Parthenope’s birth in 1950 to the present, this life journey presents a tale of a woman filled with an intense passion, not for heroism, but for freedom, Naples, and all the faces of love— real, complex, and indescribable. The perfect summers of Capri, the carefree days of youth, and a period that ends with an unexpected ambush... And then there are the others— Neapolitans, men and women, observed and loved, full of disappointment but also of life; waves of melancholy, tragic ironies, and sorrowful glances. Whether ordinary or extraordinary, they understand how long life can be. The passage of time opens up a wide range of emotions. All the while, Naples serves as both a distant and close backdrop; this indescribable city mesmerizes, laughs, and always knows how to hurt you. Sorrentino’s “Parthenope” immortalizes both a life and a city, offering an epic filled with ghostly voices, sorrowful glances, and love that defies time as it rises from the streets of Naples. As both a city and a character, Naples takes center stage, leaving the audience with a captivating poem filled with the traces of a life. “Parthenope” serves as an elegy, reminding us of the priceless value of every moment within the endless cycle of life, whether ordinary or extraordinary. Review: https://kinoavantgarde.com/en/parthenope-2024-2/ #parthenope #paolosorrentino #cannes #drama
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    Parthenope (2024) Paolo Sorrentino 136' Fantasy, Drama Italy, France In Sorrentino's last poem written by his camera, Parthenope witness a woman’s life journey spanning more than half a century. Parthenope captures the soul of Naples, the city’s deep complexities, and the faces that bear the traces of love, freedom, and lost time, all of which are integral to its essence. With Daria D’Antonio’s striking cinematography and Sorrentino’s enchanting storytelling, the film captures both ordinary and unforgettable moments in this ancient city. From Parthenope’s birth in 1950 to the present, this life journey presents a tale of a woman filled with an intense passion, not for heroism, but for freedom, Naples, and all the faces of love— real, complex, and indescribable. The perfect summers of Capri, the carefree days of youth, and a period that ends with an unexpected ambush... And then there are the others— Neapolitans, men and women, observed and loved, full of disappointment but also of life; waves of melancholy, tragic ironies, and sorrowful glances. Whether ordinary or extraordinary, they understand how long life can be. The passage of time opens up a wide range of emotions. All the while, Naples serves as both a distant and close backdrop; this indescribable city mesmerizes, laughs, and always knows how to hurt you. Sorrentino’s “Parthenope” immortalizes both a life and a city, offering an epic filled with ghostly voices, sorrowful glances, and love that defies time as it rises from the streets of Naples. As both a city and a character, Naples takes center stage, leaving the audience with a captivating poem filled with the traces of a life. “Parthenope” serves as an elegy, reminding us of the priceless value of every moment within the endless cycle of life, whether ordinary or extraordinary. Review: https://kinoavantgarde.com/en/parthenope-2024-2/ #parthenope #paolosorrentino #cannes #drama
    2 hafta ago
    View on Instagram |
    6/8
    "Mulholland Dr." (2001) Art References The film stands out as one of Lynch’s most iconic works, reflecting the dream-like reality in cinema. The film is marked by the strong influences of surrealist art and abstract narrative forms. Illogical and layered imagery, reminiscent of the works of Salvador Dalí and René Magritte, permeates Lynch’s storytelling. The film immerses the audience in a continuous process of interpretation and questioning as it deals with themes of the subconscious, identity loss, and the conflict between dream and reality. Lynch’s set designs and character portrayals are inspired by Edward Hopper’s paintings, which convey themes of isolation and ambiguity; the allure and danger of Hollywood echo the somber images of American reality depicted by Hopper. In this context, it is clear that the artistic references in Lynch’s masterpiece "Mulholland Dr." deserve a detailed analysis. See the full article at https://kinoavantgarde.com/en/art-references-in-mulholland-dr/ Edward Hopper “Two on the Aisle”, “Morning Sun”, “Hotel Room” Francis Bacon “Seated Figure” Vilhelm Hamershoi “Strandgade” Vanessa Bell “Bathers in a Landscape” Guido Reni “Beatrice Cenci” Our Lady of Guadalupe René Magritte "La trahison des images "
    "Mulholland Dr." (2001) Art References The film stands out as one of Lynch’s most iconic works, reflecting the dream-like reality in cinema. The film is marked by the strong influences of surrealist art and abstract narrative forms. Illogical and layered imagery, reminiscent of the works of Salvador Dalí and René Magritte, permeates Lynch’s storytelling. The film immerses the audience in a continuous process of interpretation and questioning as it deals with themes of the subconscious, identity loss, and the conflict between dream and reality. Lynch’s set designs and character portrayals are inspired by Edward Hopper’s paintings, which convey themes of isolation and ambiguity; the allure and danger of Hollywood echo the somber images of American reality depicted by Hopper. In this context, it is clear that the artistic references in Lynch’s masterpiece "Mulholland Dr." deserve a detailed analysis. See the full article at https://kinoavantgarde.com/en/art-references-in-mulholland-dr/ Edward Hopper “Two on the Aisle”, “Morning Sun”, “Hotel Room” Francis Bacon “Seated Figure” Vilhelm Hamershoi “Strandgade” Vanessa Bell “Bathers in a Landscape” Guido Reni “Beatrice Cenci” Our Lady of Guadalupe René Magritte "La trahison des images "
    "Mulholland Dr." (2001) Art References The film stands out as one of Lynch’s most iconic works, reflecting the dream-like reality in cinema. The film is marked by the strong influences of surrealist art and abstract narrative forms. Illogical and layered imagery, reminiscent of the works of Salvador Dalí and René Magritte, permeates Lynch’s storytelling. The film immerses the audience in a continuous process of interpretation and questioning as it deals with themes of the subconscious, identity loss, and the conflict between dream and reality. Lynch’s set designs and character portrayals are inspired by Edward Hopper’s paintings, which convey themes of isolation and ambiguity; the allure and danger of Hollywood echo the somber images of American reality depicted by Hopper. In this context, it is clear that the artistic references in Lynch’s masterpiece "Mulholland Dr." deserve a detailed analysis. See the full article at https://kinoavantgarde.com/en/art-references-in-mulholland-dr/ Edward Hopper “Two on the Aisle”, “Morning Sun”, “Hotel Room” Francis Bacon “Seated Figure” Vilhelm Hamershoi “Strandgade” Vanessa Bell “Bathers in a Landscape” Guido Reni “Beatrice Cenci” Our Lady of Guadalupe René Magritte "La trahison des images "
    "Mulholland Dr." (2001) Art References The film stands out as one of Lynch’s most iconic works, reflecting the dream-like reality in cinema. The film is marked by the strong influences of surrealist art and abstract narrative forms. Illogical and layered imagery, reminiscent of the works of Salvador Dalí and René Magritte, permeates Lynch’s storytelling. The film immerses the audience in a continuous process of interpretation and questioning as it deals with themes of the subconscious, identity loss, and the conflict between dream and reality. Lynch’s set designs and character portrayals are inspired by Edward Hopper’s paintings, which convey themes of isolation and ambiguity; the allure and danger of Hollywood echo the somber images of American reality depicted by Hopper. In this context, it is clear that the artistic references in Lynch’s masterpiece "Mulholland Dr." deserve a detailed analysis. See the full article at https://kinoavantgarde.com/en/art-references-in-mulholland-dr/ Edward Hopper “Two on the Aisle”, “Morning Sun”, “Hotel Room” Francis Bacon “Seated Figure” Vilhelm Hamershoi “Strandgade” Vanessa Bell “Bathers in a Landscape” Guido Reni “Beatrice Cenci” Our Lady of Guadalupe René Magritte "La trahison des images "
    "Mulholland Dr." (2001) Art References The film stands out as one of Lynch’s most iconic works, reflecting the dream-like reality in cinema. The film is marked by the strong influences of surrealist art and abstract narrative forms. Illogical and layered imagery, reminiscent of the works of Salvador Dalí and René Magritte, permeates Lynch’s storytelling. The film immerses the audience in a continuous process of interpretation and questioning as it deals with themes of the subconscious, identity loss, and the conflict between dream and reality. Lynch’s set designs and character portrayals are inspired by Edward Hopper’s paintings, which convey themes of isolation and ambiguity; the allure and danger of Hollywood echo the somber images of American reality depicted by Hopper. In this context, it is clear that the artistic references in Lynch’s masterpiece "Mulholland Dr." deserve a detailed analysis. See the full article at https://kinoavantgarde.com/en/art-references-in-mulholland-dr/ Edward Hopper “Two on the Aisle”, “Morning Sun”, “Hotel Room” Francis Bacon “Seated Figure” Vilhelm Hamershoi “Strandgade” Vanessa Bell “Bathers in a Landscape” Guido Reni “Beatrice Cenci” Our Lady of Guadalupe René Magritte "La trahison des images "
    "Mulholland Dr." (2001) Art References The film stands out as one of Lynch’s most iconic works, reflecting the dream-like reality in cinema. The film is marked by the strong influences of surrealist art and abstract narrative forms. Illogical and layered imagery, reminiscent of the works of Salvador Dalí and René Magritte, permeates Lynch’s storytelling. The film immerses the audience in a continuous process of interpretation and questioning as it deals with themes of the subconscious, identity loss, and the conflict between dream and reality. Lynch’s set designs and character portrayals are inspired by Edward Hopper’s paintings, which convey themes of isolation and ambiguity; the allure and danger of Hollywood echo the somber images of American reality depicted by Hopper. In this context, it is clear that the artistic references in Lynch’s masterpiece "Mulholland Dr." deserve a detailed analysis. See the full article at https://kinoavantgarde.com/en/art-references-in-mulholland-dr/ Edward Hopper “Two on the Aisle”, “Morning Sun”, “Hotel Room” Francis Bacon “Seated Figure” Vilhelm Hamershoi “Strandgade” Vanessa Bell “Bathers in a Landscape” Guido Reni “Beatrice Cenci” Our Lady of Guadalupe René Magritte "La trahison des images "
    "Mulholland Dr." (2001) Art References The film stands out as one of Lynch’s most iconic works, reflecting the dream-like reality in cinema. The film is marked by the strong influences of surrealist art and abstract narrative forms. Illogical and layered imagery, reminiscent of the works of Salvador Dalí and René Magritte, permeates Lynch’s storytelling. The film immerses the audience in a continuous process of interpretation and questioning as it deals with themes of the subconscious, identity loss, and the conflict between dream and reality. Lynch’s set designs and character portrayals are inspired by Edward Hopper’s paintings, which convey themes of isolation and ambiguity; the allure and danger of Hollywood echo the somber images of American reality depicted by Hopper. In this context, it is clear that the artistic references in Lynch’s masterpiece "Mulholland Dr." deserve a detailed analysis. See the full article at https://kinoavantgarde.com/en/art-references-in-mulholland-dr/ Edward Hopper “Two on the Aisle”, “Morning Sun”, “Hotel Room” Francis Bacon “Seated Figure” Vilhelm Hamershoi “Strandgade” Vanessa Bell “Bathers in a Landscape” Guido Reni “Beatrice Cenci” Our Lady of Guadalupe René Magritte "La trahison des images "
    "Mulholland Dr." (2001) Art References The film stands out as one of Lynch’s most iconic works, reflecting the dream-like reality in cinema. The film is marked by the strong influences of surrealist art and abstract narrative forms. Illogical and layered imagery, reminiscent of the works of Salvador Dalí and René Magritte, permeates Lynch’s storytelling. The film immerses the audience in a continuous process of interpretation and questioning as it deals with themes of the subconscious, identity loss, and the conflict between dream and reality. Lynch’s set designs and character portrayals are inspired by Edward Hopper’s paintings, which convey themes of isolation and ambiguity; the allure and danger of Hollywood echo the somber images of American reality depicted by Hopper. In this context, it is clear that the artistic references in Lynch’s masterpiece "Mulholland Dr." deserve a detailed analysis. See the full article at https://kinoavantgarde.com/en/art-references-in-mulholland-dr/ Edward Hopper “Two on the Aisle”, “Morning Sun”, “Hotel Room” Francis Bacon “Seated Figure” Vilhelm Hamershoi “Strandgade” Vanessa Bell “Bathers in a Landscape” Guido Reni “Beatrice Cenci” Our Lady of Guadalupe René Magritte "La trahison des images "
    "Mulholland Dr." (2001) Art References The film stands out as one of Lynch’s most iconic works, reflecting the dream-like reality in cinema. The film is marked by the strong influences of surrealist art and abstract narrative forms. Illogical and layered imagery, reminiscent of the works of Salvador Dalí and René Magritte, permeates Lynch’s storytelling. The film immerses the audience in a continuous process of interpretation and questioning as it deals with themes of the subconscious, identity loss, and the conflict between dream and reality. Lynch’s set designs and character portrayals are inspired by Edward Hopper’s paintings, which convey themes of isolation and ambiguity; the allure and danger of Hollywood echo the somber images of American reality depicted by Hopper. In this context, it is clear that the artistic references in Lynch’s masterpiece "Mulholland Dr." deserve a detailed analysis. See the full article at https://kinoavantgarde.com/en/art-references-in-mulholland-dr/ Edward Hopper “Two on the Aisle”, “Morning Sun”, “Hotel Room” Francis Bacon “Seated Figure” Vilhelm Hamershoi “Strandgade” Vanessa Bell “Bathers in a Landscape” Guido Reni “Beatrice Cenci” Our Lady of Guadalupe René Magritte "La trahison des images "
    "Mulholland Dr." (2001) Art References The film stands out as one of Lynch’s most iconic works, reflecting the dream-like reality in cinema. The film is marked by the strong influences of surrealist art and abstract narrative forms. Illogical and layered imagery, reminiscent of the works of Salvador Dalí and René Magritte, permeates Lynch’s storytelling. The film immerses the audience in a continuous process of interpretation and questioning as it deals with themes of the subconscious, identity loss, and the conflict between dream and reality. Lynch’s set designs and character portrayals are inspired by Edward Hopper’s paintings, which convey themes of isolation and ambiguity; the allure and danger of Hollywood echo the somber images of American reality depicted by Hopper. In this context, it is clear that the artistic references in Lynch’s masterpiece "Mulholland Dr." deserve a detailed analysis. See the full article at https://kinoavantgarde.com/en/art-references-in-mulholland-dr/ Edward Hopper “Two on the Aisle”, “Morning Sun”, “Hotel Room” Francis Bacon “Seated Figure” Vilhelm Hamershoi “Strandgade” Vanessa Bell “Bathers in a Landscape” Guido Reni “Beatrice Cenci” Our Lady of Guadalupe René Magritte "La trahison des images "
    "Mulholland Dr." (2001) Art References The film stands out as one of Lynch’s most iconic works, reflecting the dream-like reality in cinema. The film is marked by the strong influences of surrealist art and abstract narrative forms. Illogical and layered imagery, reminiscent of the works of Salvador Dalí and René Magritte, permeates Lynch’s storytelling. The film immerses the audience in a continuous process of interpretation and questioning as it deals with themes of the subconscious, identity loss, and the conflict between dream and reality. Lynch’s set designs and character portrayals are inspired by Edward Hopper’s paintings, which convey themes of isolation and ambiguity; the allure and danger of Hollywood echo the somber images of American reality depicted by Hopper. In this context, it is clear that the artistic references in Lynch’s masterpiece "Mulholland Dr." deserve a detailed analysis. See the full article at https://kinoavantgarde.com/en/art-references-in-mulholland-dr/ Edward Hopper “Two on the Aisle”, “Morning Sun”, “Hotel Room” Francis Bacon “Seated Figure” Vilhelm Hamershoi “Strandgade” Vanessa Bell “Bathers in a Landscape” Guido Reni “Beatrice Cenci” Our Lady of Guadalupe René Magritte "La trahison des images "
    "Mulholland Dr." (2001) Art References The film stands out as one of Lynch’s most iconic works, reflecting the dream-like reality in cinema. The film is marked by the strong influences of surrealist art and abstract narrative forms. Illogical and layered imagery, reminiscent of the works of Salvador Dalí and René Magritte, permeates Lynch’s storytelling. The film immerses the audience in a continuous process of interpretation and questioning as it deals with themes of the subconscious, identity loss, and the conflict between dream and reality. Lynch’s set designs and character portrayals are inspired by Edward Hopper’s paintings, which convey themes of isolation and ambiguity; the allure and danger of Hollywood echo the somber images of American reality depicted by Hopper. In this context, it is clear that the artistic references in Lynch’s masterpiece "Mulholland Dr." deserve a detailed analysis. See the full article at https://kinoavantgarde.com/en/art-references-in-mulholland-dr/ Edward Hopper “Two on the Aisle”, “Morning Sun”, “Hotel Room” Francis Bacon “Seated Figure” Vilhelm Hamershoi “Strandgade” Vanessa Bell “Bathers in a Landscape” Guido Reni “Beatrice Cenci” Our Lady of Guadalupe René Magritte "La trahison des images "
    "Mulholland Dr." (2001) Art References The film stands out as one of Lynch’s most iconic works, reflecting the dream-like reality in cinema. The film is marked by the strong influences of surrealist art and abstract narrative forms. Illogical and layered imagery, reminiscent of the works of Salvador Dalí and René Magritte, permeates Lynch’s storytelling. The film immerses the audience in a continuous process of interpretation and questioning as it deals with themes of the subconscious, identity loss, and the conflict between dream and reality. Lynch’s set designs and character portrayals are inspired by Edward Hopper’s paintings, which convey themes of isolation and ambiguity; the allure and danger of Hollywood echo the somber images of American reality depicted by Hopper. In this context, it is clear that the artistic references in Lynch’s masterpiece "Mulholland Dr." deserve a detailed analysis. See the full article at https://kinoavantgarde.com/en/art-references-in-mulholland-dr/ Edward Hopper “Two on the Aisle”, “Morning Sun”, “Hotel Room” Francis Bacon “Seated Figure” Vilhelm Hamershoi “Strandgade” Vanessa Bell “Bathers in a Landscape” Guido Reni “Beatrice Cenci” Our Lady of Guadalupe René Magritte "La trahison des images "
    "Mulholland Dr." (2001) Art References The film stands out as one of Lynch’s most iconic works, reflecting the dream-like reality in cinema. The film is marked by the strong influences of surrealist art and abstract narrative forms. Illogical and layered imagery, reminiscent of the works of Salvador Dalí and René Magritte, permeates Lynch’s storytelling. The film immerses the audience in a continuous process of interpretation and questioning as it deals with themes of the subconscious, identity loss, and the conflict between dream and reality. Lynch’s set designs and character portrayals are inspired by Edward Hopper’s paintings, which convey themes of isolation and ambiguity; the allure and danger of Hollywood echo the somber images of American reality depicted by Hopper. In this context, it is clear that the artistic references in Lynch’s masterpiece "Mulholland Dr." deserve a detailed analysis. See the full article at https://kinoavantgarde.com/en/art-references-in-mulholland-dr/ Edward Hopper “Two on the Aisle”, “Morning Sun”, “Hotel Room” Francis Bacon “Seated Figure” Vilhelm Hamershoi “Strandgade” Vanessa Bell “Bathers in a Landscape” Guido Reni “Beatrice Cenci” Our Lady of Guadalupe René Magritte "La trahison des images "
    "Mulholland Dr." (2001) Art References The film stands out as one of Lynch’s most iconic works, reflecting the dream-like reality in cinema. The film is marked by the strong influences of surrealist art and abstract narrative forms. Illogical and layered imagery, reminiscent of the works of Salvador Dalí and René Magritte, permeates Lynch’s storytelling. The film immerses the audience in a continuous process of interpretation and questioning as it deals with themes of the subconscious, identity loss, and the conflict between dream and reality. Lynch’s set designs and character portrayals are inspired by Edward Hopper’s paintings, which convey themes of isolation and ambiguity; the allure and danger of Hollywood echo the somber images of American reality depicted by Hopper. In this context, it is clear that the artistic references in Lynch’s masterpiece "Mulholland Dr." deserve a detailed analysis. See the full article at https://kinoavantgarde.com/en/art-references-in-mulholland-dr/ Edward Hopper “Two on the Aisle”, “Morning Sun”, “Hotel Room” Francis Bacon “Seated Figure” Vilhelm Hamershoi “Strandgade” Vanessa Bell “Bathers in a Landscape” Guido Reni “Beatrice Cenci” Our Lady of Guadalupe René Magritte "La trahison des images "
    "Mulholland Dr." (2001) Art References The film stands out as one of Lynch’s most iconic works, reflecting the dream-like reality in cinema. The film is marked by the strong influences of surrealist art and abstract narrative forms. Illogical and layered imagery, reminiscent of the works of Salvador Dalí and René Magritte, permeates Lynch’s storytelling. The film immerses the audience in a continuous process of interpretation and questioning as it deals with themes of the subconscious, identity loss, and the conflict between dream and reality. Lynch’s set designs and character portrayals are inspired by Edward Hopper’s paintings, which convey themes of isolation and ambiguity; the allure and danger of Hollywood echo the somber images of American reality depicted by Hopper. In this context, it is clear that the artistic references in Lynch’s masterpiece "Mulholland Dr." deserve a detailed analysis. See the full article at https://kinoavantgarde.com/en/art-references-in-mulholland-dr/ Edward Hopper “Two on the Aisle”, “Morning Sun”, “Hotel Room” Francis Bacon “Seated Figure” Vilhelm Hamershoi “Strandgade” Vanessa Bell “Bathers in a Landscape” Guido Reni “Beatrice Cenci” Our Lady of Guadalupe René Magritte "La trahison des images "
    "Mulholland Dr." (2001) Art References The film stands out as one of Lynch’s most iconic works, reflecting the dream-like reality in cinema. The film is marked by the strong influences of surrealist art and abstract narrative forms. Illogical and layered imagery, reminiscent of the works of Salvador Dalí and René Magritte, permeates Lynch’s storytelling. The film immerses the audience in a continuous process of interpretation and questioning as it deals with themes of the subconscious, identity loss, and the conflict between dream and reality. Lynch’s set designs and character portrayals are inspired by Edward Hopper’s paintings, which convey themes of isolation and ambiguity; the allure and danger of Hollywood echo the somber images of American reality depicted by Hopper. In this context, it is clear that the artistic references in Lynch’s masterpiece "Mulholland Dr." deserve a detailed analysis. See the full article at https://kinoavantgarde.com/en/art-references-in-mulholland-dr/ Edward Hopper “Two on the Aisle”, “Morning Sun”, “Hotel Room” Francis Bacon “Seated Figure” Vilhelm Hamershoi “Strandgade” Vanessa Bell “Bathers in a Landscape” Guido Reni “Beatrice Cenci” Our Lady of Guadalupe René Magritte "La trahison des images "
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    "Mulholland Dr." (2001) Art References The film stands out as one of Lynch’s most iconic works, reflecting the dream-like reality in cinema. The film is marked by the strong influences of surrealist art and abstract narrative forms. Illogical and layered imagery, reminiscent of the works of Salvador Dalí and René Magritte, permeates Lynch’s storytelling. The film immerses the audience in a continuous process of interpretation and questioning as it deals with themes of the subconscious, identity loss, and the conflict between dream and reality. Lynch’s set designs and character portrayals are inspired by Edward Hopper’s paintings, which convey themes of isolation and ambiguity; the allure and danger of Hollywood echo the somber images of American reality depicted by Hopper. In this context, it is clear that the artistic references in Lynch’s masterpiece "Mulholland Dr." deserve a detailed analysis. See the full article at https://kinoavantgarde.com/en/art-references-in-mulholland-dr/ Edward Hopper “Two on the Aisle”, “Morning Sun”, “Hotel Room” Francis Bacon “Seated Figure” Vilhelm Hamershoi “Strandgade” Vanessa Bell “Bathers in a Landscape” Guido Reni “Beatrice Cenci” Our Lady of Guadalupe René Magritte "La trahison des images "
    2 hafta ago
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    The Substance (2024) Coralie Fargeat 2′ 21″ | Drama, Body Horror United Kingdom | France Coralie Fargeat’s wildly entertaining and ruthlessly satirical Cannes sensation flips toxic beauty culture on its head with a “be careful what you wish for” fable that promises to resonate for ages. Elizabeth, unable to accept that the star of her icon has finally dimmed after years of dedication, faces an irreversible reality that compels her to try the impossible — to regain her “better version” through a dangerous formula known as “The Essence.” She achieves her aim, but when things spiral out of control, her “better version,” Sue, takes over. Or maybe control has been lost altogether. You’ve just read two introductory sentences from the film’s press kit. Yet, these phrases alone no longer suffice to capture the essence of The Substance. Since its early screenings for cinema professionals at Cannes in May, the film has journeyed from the “industry audience universe” into the broader festival circuit and has now reached its widest audience through cinemas and streaming platforms. With each step of this journey, the film has evolved into a different entity — first as a sensational and eye-catching spectacle and now as a piece occupying a space between arthouse and commercial cinema. As someone who has followed every step of this journey, analyzing the film through conventional methods has become impossible for me. Thus, it seems only appropriate to view the film through the lens of Umberto Eco, distinguishing it according to the intentions of the author (the director), the text (the screenplay), and the reader (the audience). Read full review: https://kinoavantgarde.com/en/the-substance-2024-2/ Filmin incelemesi: https://kinoavantgarde.com/en/the-substance-2024/ #thesubstance #coraliefargeat #mubi #demimoore #drama #cannes
    The Substance (2024) Coralie Fargeat 2′ 21″ | Drama, Body Horror United Kingdom | France Coralie Fargeat’s wildly entertaining and ruthlessly satirical Cannes sensation flips toxic beauty culture on its head with a “be careful what you wish for” fable that promises to resonate for ages. Elizabeth, unable to accept that the star of her icon has finally dimmed after years of dedication, faces an irreversible reality that compels her to try the impossible — to regain her “better version” through a dangerous formula known as “The Essence.” She achieves her aim, but when things spiral out of control, her “better version,” Sue, takes over. Or maybe control has been lost altogether. You’ve just read two introductory sentences from the film’s press kit. Yet, these phrases alone no longer suffice to capture the essence of The Substance. Since its early screenings for cinema professionals at Cannes in May, the film has journeyed from the “industry audience universe” into the broader festival circuit and has now reached its widest audience through cinemas and streaming platforms. With each step of this journey, the film has evolved into a different entity — first as a sensational and eye-catching spectacle and now as a piece occupying a space between arthouse and commercial cinema. As someone who has followed every step of this journey, analyzing the film through conventional methods has become impossible for me. Thus, it seems only appropriate to view the film through the lens of Umberto Eco, distinguishing it according to the intentions of the author (the director), the text (the screenplay), and the reader (the audience). Read full review: https://kinoavantgarde.com/en/the-substance-2024-2/ Filmin incelemesi: https://kinoavantgarde.com/en/the-substance-2024/ #thesubstance #coraliefargeat #mubi #demimoore #drama #cannes
    The Substance (2024) Coralie Fargeat 2′ 21″ | Drama, Body Horror United Kingdom | France Coralie Fargeat’s wildly entertaining and ruthlessly satirical Cannes sensation flips toxic beauty culture on its head with a “be careful what you wish for” fable that promises to resonate for ages. Elizabeth, unable to accept that the star of her icon has finally dimmed after years of dedication, faces an irreversible reality that compels her to try the impossible — to regain her “better version” through a dangerous formula known as “The Essence.” She achieves her aim, but when things spiral out of control, her “better version,” Sue, takes over. Or maybe control has been lost altogether. You’ve just read two introductory sentences from the film’s press kit. Yet, these phrases alone no longer suffice to capture the essence of The Substance. Since its early screenings for cinema professionals at Cannes in May, the film has journeyed from the “industry audience universe” into the broader festival circuit and has now reached its widest audience through cinemas and streaming platforms. With each step of this journey, the film has evolved into a different entity — first as a sensational and eye-catching spectacle and now as a piece occupying a space between arthouse and commercial cinema. As someone who has followed every step of this journey, analyzing the film through conventional methods has become impossible for me. Thus, it seems only appropriate to view the film through the lens of Umberto Eco, distinguishing it according to the intentions of the author (the director), the text (the screenplay), and the reader (the audience). Read full review: https://kinoavantgarde.com/en/the-substance-2024-2/ Filmin incelemesi: https://kinoavantgarde.com/en/the-substance-2024/ #thesubstance #coraliefargeat #mubi #demimoore #drama #cannes
    The Substance (2024) Coralie Fargeat 2′ 21″ | Drama, Body Horror United Kingdom | France Coralie Fargeat’s wildly entertaining and ruthlessly satirical Cannes sensation flips toxic beauty culture on its head with a “be careful what you wish for” fable that promises to resonate for ages. Elizabeth, unable to accept that the star of her icon has finally dimmed after years of dedication, faces an irreversible reality that compels her to try the impossible — to regain her “better version” through a dangerous formula known as “The Essence.” She achieves her aim, but when things spiral out of control, her “better version,” Sue, takes over. Or maybe control has been lost altogether. You’ve just read two introductory sentences from the film’s press kit. Yet, these phrases alone no longer suffice to capture the essence of The Substance. Since its early screenings for cinema professionals at Cannes in May, the film has journeyed from the “industry audience universe” into the broader festival circuit and has now reached its widest audience through cinemas and streaming platforms. With each step of this journey, the film has evolved into a different entity — first as a sensational and eye-catching spectacle and now as a piece occupying a space between arthouse and commercial cinema. As someone who has followed every step of this journey, analyzing the film through conventional methods has become impossible for me. Thus, it seems only appropriate to view the film through the lens of Umberto Eco, distinguishing it according to the intentions of the author (the director), the text (the screenplay), and the reader (the audience). Read full review: https://kinoavantgarde.com/en/the-substance-2024-2/ Filmin incelemesi: https://kinoavantgarde.com/en/the-substance-2024/ #thesubstance #coraliefargeat #mubi #demimoore #drama #cannes
    The Substance (2024) Coralie Fargeat 2′ 21″ | Drama, Body Horror United Kingdom | France Coralie Fargeat’s wildly entertaining and ruthlessly satirical Cannes sensation flips toxic beauty culture on its head with a “be careful what you wish for” fable that promises to resonate for ages. Elizabeth, unable to accept that the star of her icon has finally dimmed after years of dedication, faces an irreversible reality that compels her to try the impossible — to regain her “better version” through a dangerous formula known as “The Essence.” She achieves her aim, but when things spiral out of control, her “better version,” Sue, takes over. Or maybe control has been lost altogether. You’ve just read two introductory sentences from the film’s press kit. Yet, these phrases alone no longer suffice to capture the essence of The Substance. Since its early screenings for cinema professionals at Cannes in May, the film has journeyed from the “industry audience universe” into the broader festival circuit and has now reached its widest audience through cinemas and streaming platforms. With each step of this journey, the film has evolved into a different entity — first as a sensational and eye-catching spectacle and now as a piece occupying a space between arthouse and commercial cinema. As someone who has followed every step of this journey, analyzing the film through conventional methods has become impossible for me. Thus, it seems only appropriate to view the film through the lens of Umberto Eco, distinguishing it according to the intentions of the author (the director), the text (the screenplay), and the reader (the audience). Read full review: https://kinoavantgarde.com/en/the-substance-2024-2/ Filmin incelemesi: https://kinoavantgarde.com/en/the-substance-2024/ #thesubstance #coraliefargeat #mubi #demimoore #drama #cannes
    The Substance (2024) Coralie Fargeat 2′ 21″ | Drama, Body Horror United Kingdom | France Coralie Fargeat’s wildly entertaining and ruthlessly satirical Cannes sensation flips toxic beauty culture on its head with a “be careful what you wish for” fable that promises to resonate for ages. Elizabeth, unable to accept that the star of her icon has finally dimmed after years of dedication, faces an irreversible reality that compels her to try the impossible — to regain her “better version” through a dangerous formula known as “The Essence.” She achieves her aim, but when things spiral out of control, her “better version,” Sue, takes over. Or maybe control has been lost altogether. You’ve just read two introductory sentences from the film’s press kit. Yet, these phrases alone no longer suffice to capture the essence of The Substance. Since its early screenings for cinema professionals at Cannes in May, the film has journeyed from the “industry audience universe” into the broader festival circuit and has now reached its widest audience through cinemas and streaming platforms. With each step of this journey, the film has evolved into a different entity — first as a sensational and eye-catching spectacle and now as a piece occupying a space between arthouse and commercial cinema. As someone who has followed every step of this journey, analyzing the film through conventional methods has become impossible for me. Thus, it seems only appropriate to view the film through the lens of Umberto Eco, distinguishing it according to the intentions of the author (the director), the text (the screenplay), and the reader (the audience). Read full review: https://kinoavantgarde.com/en/the-substance-2024-2/ Filmin incelemesi: https://kinoavantgarde.com/en/the-substance-2024/ #thesubstance #coraliefargeat #mubi #demimoore #drama #cannes
    The Substance (2024) Coralie Fargeat 2′ 21″ | Drama, Body Horror United Kingdom | France Coralie Fargeat’s wildly entertaining and ruthlessly satirical Cannes sensation flips toxic beauty culture on its head with a “be careful what you wish for” fable that promises to resonate for ages. Elizabeth, unable to accept that the star of her icon has finally dimmed after years of dedication, faces an irreversible reality that compels her to try the impossible — to regain her “better version” through a dangerous formula known as “The Essence.” She achieves her aim, but when things spiral out of control, her “better version,” Sue, takes over. Or maybe control has been lost altogether. You’ve just read two introductory sentences from the film’s press kit. Yet, these phrases alone no longer suffice to capture the essence of The Substance. Since its early screenings for cinema professionals at Cannes in May, the film has journeyed from the “industry audience universe” into the broader festival circuit and has now reached its widest audience through cinemas and streaming platforms. With each step of this journey, the film has evolved into a different entity — first as a sensational and eye-catching spectacle and now as a piece occupying a space between arthouse and commercial cinema. As someone who has followed every step of this journey, analyzing the film through conventional methods has become impossible for me. Thus, it seems only appropriate to view the film through the lens of Umberto Eco, distinguishing it according to the intentions of the author (the director), the text (the screenplay), and the reader (the audience). Read full review: https://kinoavantgarde.com/en/the-substance-2024-2/ Filmin incelemesi: https://kinoavantgarde.com/en/the-substance-2024/ #thesubstance #coraliefargeat #mubi #demimoore #drama #cannes
    The Substance (2024) Coralie Fargeat 2′ 21″ | Drama, Body Horror United Kingdom | France Coralie Fargeat’s wildly entertaining and ruthlessly satirical Cannes sensation flips toxic beauty culture on its head with a “be careful what you wish for” fable that promises to resonate for ages. Elizabeth, unable to accept that the star of her icon has finally dimmed after years of dedication, faces an irreversible reality that compels her to try the impossible — to regain her “better version” through a dangerous formula known as “The Essence.” She achieves her aim, but when things spiral out of control, her “better version,” Sue, takes over. Or maybe control has been lost altogether. You’ve just read two introductory sentences from the film’s press kit. Yet, these phrases alone no longer suffice to capture the essence of The Substance. Since its early screenings for cinema professionals at Cannes in May, the film has journeyed from the “industry audience universe” into the broader festival circuit and has now reached its widest audience through cinemas and streaming platforms. With each step of this journey, the film has evolved into a different entity — first as a sensational and eye-catching spectacle and now as a piece occupying a space between arthouse and commercial cinema. As someone who has followed every step of this journey, analyzing the film through conventional methods has become impossible for me. Thus, it seems only appropriate to view the film through the lens of Umberto Eco, distinguishing it according to the intentions of the author (the director), the text (the screenplay), and the reader (the audience). Read full review: https://kinoavantgarde.com/en/the-substance-2024-2/ Filmin incelemesi: https://kinoavantgarde.com/en/the-substance-2024/ #thesubstance #coraliefargeat #mubi #demimoore #drama #cannes
    The Substance (2024) Coralie Fargeat 2′ 21″ | Drama, Body Horror United Kingdom | France Coralie Fargeat’s wildly entertaining and ruthlessly satirical Cannes sensation flips toxic beauty culture on its head with a “be careful what you wish for” fable that promises to resonate for ages. Elizabeth, unable to accept that the star of her icon has finally dimmed after years of dedication, faces an irreversible reality that compels her to try the impossible — to regain her “better version” through a dangerous formula known as “The Essence.” She achieves her aim, but when things spiral out of control, her “better version,” Sue, takes over. Or maybe control has been lost altogether. You’ve just read two introductory sentences from the film’s press kit. Yet, these phrases alone no longer suffice to capture the essence of The Substance. Since its early screenings for cinema professionals at Cannes in May, the film has journeyed from the “industry audience universe” into the broader festival circuit and has now reached its widest audience through cinemas and streaming platforms. With each step of this journey, the film has evolved into a different entity — first as a sensational and eye-catching spectacle and now as a piece occupying a space between arthouse and commercial cinema. As someone who has followed every step of this journey, analyzing the film through conventional methods has become impossible for me. Thus, it seems only appropriate to view the film through the lens of Umberto Eco, distinguishing it according to the intentions of the author (the director), the text (the screenplay), and the reader (the audience). Read full review: https://kinoavantgarde.com/en/the-substance-2024-2/ Filmin incelemesi: https://kinoavantgarde.com/en/the-substance-2024/ #thesubstance #coraliefargeat #mubi #demimoore #drama #cannes
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    The Substance (2024) Coralie Fargeat 2′ 21″ | Drama, Body Horror United Kingdom | France Coralie Fargeat’s wildly entertaining and ruthlessly satirical Cannes sensation flips toxic beauty culture on its head with a “be careful what you wish for” fable that promises to resonate for ages. Elizabeth, unable to accept that the star of her icon has finally dimmed after years of dedication, faces an irreversible reality that compels her to try the impossible — to regain her “better version” through a dangerous formula known as “The Essence.” She achieves her aim, but when things spiral out of control, her “better version,” Sue, takes over. Or maybe control has been lost altogether. You’ve just read two introductory sentences from the film’s press kit. Yet, these phrases alone no longer suffice to capture the essence of The Substance. Since its early screenings for cinema professionals at Cannes in May, the film has journeyed from the “industry audience universe” into the broader festival circuit and has now reached its widest audience through cinemas and streaming platforms. With each step of this journey, the film has evolved into a different entity — first as a sensational and eye-catching spectacle and now as a piece occupying a space between arthouse and commercial cinema. As someone who has followed every step of this journey, analyzing the film through conventional methods has become impossible for me. Thus, it seems only appropriate to view the film through the lens of Umberto Eco, distinguishing it according to the intentions of the author (the director), the text (the screenplay), and the reader (the audience). Read full review: https://kinoavantgarde.com/en/the-substance-2024-2/ Filmin incelemesi: https://kinoavantgarde.com/en/the-substance-2024/ #thesubstance #coraliefargeat #mubi #demimoore #drama #cannes
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    • Anasayfa
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