4v291o

Desbicable Meh

I singoli elementi sono migliori della somma delle parti.
Brava Cucciari, brava Venier, brava Signoris, bella la canzone di Giorgia; ma alla fine, più che diamanti, il tutto sembra una raccolta di brillantini: anche bello, ma il valore dove sta?
(nota a margine: in un film corale zeppo di attrici che già han lavorato con Ozpetek, per Serra Yilmaz, Margherita Buy, Giovanna Mezzogiorno e Isabella Ferrari non c'era proprio spazio?)

Would have rated it higher. Pity for the episode where Sasha Stone talks, as usual, mostly about herself. Sasha, movies are bigger than you; deal with it.

Imbarazzante, e poco altro da aggiungere.
2 stelle solo perché il film è del 2013, quando si poteva ancora sperare che Pieraccioni la smettesse con film il cui incipit è "eterno Peter Pan in crisi di mezza età...". Non è successo.

Definitely not up to Bong's best movies; still, enjoyable.
Overall, problematic to judge in its critique of political leadership, given the portrayal of Mark Ruffalo's character feels weirdly outdated and sured by real life events.

Well intentioned, but ultimately lazy and by-the-numbers. Topic is important; still, the Oscar nomination feels definitely way too much

Watched on Tuesday February 4, 2025.

Well intentioned, but very by-the-numbers.
Definitely not the kind of stuff I'd expect getting Oscar-nominated.

Would I watch it again? No.
Is it a bad movie? No.
"meh."

This dreadful "I've seen it all before" feeling...

What it lacks in script, is compensated by Stan's and Strong's wicked performances. And nice to see there's more to Maria Bakalova than her stellar turn in Borat 2.

Livello Bagaglino, ma con meno inventiva.

Eight Oscar nominations are definitely too much; movie is not bad at all, mind you. Monica Barbaro and Edward Norton are excellent (yes, definitely better than Chalamet, who is anyway pretty good). But in the end, it's a movie you forget 10 minutes after it is over; and this is definitely NOT what one would want to say about a project revolving around Bob Dylan.
Let's put it this way: I love James Mangold, loved him for a long time; and find it baffling he received his first Oscar nomination for Best Director for this.

È pure recitato bene, ma l'origine teatrale si fa sentire troppo, è gestita malissimo (alcune battute e situazioni che a teatro possono funzionare, sullo schermo risultano pessime), si arriva a metà film col fiato corto, e con la sensazione da "chi se ne frega; comunque finisca, non sarà soddisfacente". E purtroppo il finale riesce nel non facile compito di scontentare anche i pochi ancora interessati. E poi, che simbologie pesanti e sbattute in faccia!
Mezza stella in più per il quartetto di attori veramente notevoli; e anche se Bonaiuto e Colangeli sono una garanzia, è comunque un piacere vedere che continuano a stupire.

Boring. Unfunny. Predictable. Overlong. And, mind you, I really wanted to like it.

The documentary is definitely pretty insulting to Williams, and anyone who TRULY loves his music. Director seems more interested in having Steven Spielberg and Kate Kapshaw talking, and talking, and talking. There's no doubt the Williams/Spielberg collaboration is one for the ages, but why such a lazy approach? Not a single word about "Empire of the Sun", of "JFK", or "The Witches of Eastwick", or "The Accidental Tourist".
This really feels like a huge missed opportunity

It starts well; gets better once Hugh Grant appears.
Sadly, the directors/writers aren't able to dose the ingredients, and in spite of the fact the movie shows worrying cracks too early, they keep adding more and more, allowing it to collapse way before it is over, leaving a lot of questions unanswered.
Pity, Hugh Grant's performance deserved better.

Todo Modo for dummies. Imbarazzante.

I was not expecting anything different: as bad as I thought it would have been. No need to elaborate on that even longer.

La cosa migliore del film è la locandina che si trova qui su Letterbox. E ho detto tutto.

Confusing. Messy. Exploitative. First half literally doesn't know where to go to.
Dion is the saving grace of this product, but she and her story deserved a much better treatment and director.

Insomma... è scritto proprio maluccio, troppa carne al fuoco, e perde clamorosamente il confronto con Ferie d'agosto, a prescindere dal fatto che il tono dei due film sia volutamente differente. Certo, "ha i suoi momenti"; certo, "il monologo della Fanelli vale tutto il film"; ma è il valore in sé che è un tantinello troppo basso.
Peccato.

Un film pieno di difetti, che non sa bene che prospettiva affrontare e si perde tra tentativi di affresco d'epoca; abbozzi veloci, inutili e malriusciti di personaggi secondari presi e abbandonati durante la narrazione; sottotrame inconcludenti; un mancato adeguato approfondimento della psicologia dei protagonisti, che finisce per far are un non voluto (si spera) ma sgradevolissimo messaggio di assoluzione per gli stupratori.

Il crimine più grave del film è che fa una pessima pubblicità al grande romanzo di Edoardo Albinati da cui è tratto.

Indifendibile; e a chi dice che ha riso, rispondo citando il titolo di questa porcheria.
Mezzo punto in meno per l'utilizzo sconsiderato del font adoperato per i film di Woody Allen.

Avvilente.
E non è nemmeno la cosa peggiore girata da Veronesi.
Mezzo punto in più per la presenza di Bowie.

Che peccato. Idea di partenza potenzialmente carina, ma poi è una competizione a chi è più svogliato; e nonostante un Abatantuono col pilota automatico, un De Sica bolso ed annoiato, e Finocchiaro e Paolo Rossi che nemmeno ci provano, la gara del cazzeggio la vincono la regia squinternata di Brizzi, una sceneggiatura incredibilmente scritta da 4 persone, ed il reparto tecnico, con note di demerito per un trucco e parrucco allucinanti e costumi da trovarobato.

Idea vecchissima e declinata in maniera decisamente migliore in molti altri documentari.
Morale (?) di una banalità sconcertante: "i bimbi salveranno il mondo". Noia a palate, con bambini molto spesso insopportabili, domande troppo spesso imbarazzanti; qualità tecnica inutilmente raffazzonata ed amatoriale.
Mezzo punto in più giusto per compiacere chi comunque apprezzerà questa schiera di mocciosi che fanno a gara nel risultare meno credibili quando danno risposte apparentemente candide, o chiaramente recitate.

Non che da Veltroni ci si possa aspettare chissà cosa, ma anche partendo da aspettative basse si va in zona catastrofe. E sorvoliamo sul soggetto scopiazzato biecamente dall'idea di partenza di Good Bye, Lenin!
Mezzo punto in più solo per il cast di o stracult.

Didn't work for me as a social satire. Didn't work for me as a horror.
Too many directorial choices are aiming for low shock values, and fail at that too.
Too many red herrings leading to nothing.
Too many plot holes left unanswered.
And such a predictable (and hurried) outcome, unnecessarily morbid and gruesome.
Just boring.

Painful to watch from start to finish.
All the more painful, considering who directed it (Polanski) and who wrote it (Polanski, again; and Jerzy Skolimowski).

Watched on Friday March 11, 2022.

Watched on Friday March 11, 2022.

Watched on Tuesday March 8, 2022.

Watched on Wednesday March 2, 2022.

Watched on Wednesday February 23, 2022.

Watched on Sunday January 30, 2022.

Watched on Sunday January 23, 2022.

Watched on Tuesday January 25, 2022.

Watched on Saturday February 9, 2013.

A list of all the movies and screenwriters whose screenplays were recognised, over the years, at the "Big Three" European Film Festivals, in Venice, Cannes and Berlin. So far, only a handful of screenwriters were recognised twice: Pedro Almodóvar (1988, 2006), Paul Laverty (2002, 2007), Yorgos Lanthimos & Efthymis Filippou (2011, 2017), Jafar Panahi (2013, 2018), Martin McDonagh (2017, 2022), Jean-Pierre & Luc Dardenne (2008, 2025).

1. Lost Boundaries

   Best Screenplay - Alfred L. Werker, Eugene Ling & Virginia Shaler - Cannes Film Festival 1949

2. The Browning Version

   Best Screenplay - Terence Rattigan - Cannes Film Festival 1951

3. Cops and Robbers

   Best Screenplay - Piero Tellini - Cannes Film Festival 1952

4. Young Husbands

   Best Screenplay - Pier Paolo Pasolini, Massimo Franciosa & Pasquale Festa Campanile - Cannes Film Festival 1958

5. Codine

   Best Screenplay - Dumitru Carabat, Henri Colpi & Yves Jamiaque - Cannes Film Festival 1963

6. The 317th Platoon

   (tie) Best Screenplay - Pierre Schoendoerffer - Cannes Film Festival 1965

7. The Hill

   (tie) Best Screenplay - Ray Rigby - Cannes Film Festival 1965

8. We Still Kill the Old Way

   (tie) Best Screenplay - Elio Petri - Cannes Film Festival 1967

9. The Killing Game

   (tie) Best Screenplay - Alain Jessua - Cannes Film Festival 1967

10. The Sugarland Express

    Best Screenplay - Steven Spielberg, Hal Barwood & Matthew Robbins - Cannes Film Festival 1974

...plus 84 more. View the full list on Letterboxd.

Since 2003, the Europa Cinemas Label has been awarded to a European film by a jury of Europa Cinemas exhibitors at five European festivals: Panorama (Berlinale), Directors’ Fortnight (Cannes Film Festival), East of the West and official competition (Karlovy-Vary International Film Festival), international competition and the Cineasti del Presente section (Locarno International Film Festival), and Giornate degli Autori/Venice Days (Venice International Film Festival).
The Europa Cinemas Label aims to increase the promotion, circulation and exhibition lifespan of winning films. The Label is awarded at a strategic point in a film's career, at the time of its presentation at a festival and launch onto the international market. The Label mobilises the media, exporters, distributors and exhibitors.
[READ NOTES]

1. The Mother

   Europa Cinemas Label Cannes 2003 (tied with Salmer fra kjøkkenet)

2. Kitchen Stories

   Europa Cinemas Label Cannes 2003 (tied with The Mother)

3. In the Battlefields

   Europa Cinemas Label Cannes 2004

4. Darwin's Nightmare

   Europa Cinemas Label Venice 2004

5. Cockles and Muscles

   Europa Cinemas Label Berlinale 2005 (tied with Va, vis et deviens)

6. Live and Become

   Europa Cinemas Label Berlinale 2005 (tied with Crustacés et coquillages)

7. The Moustache

   Europa Cinemas Label Cannes 2005

8. The Young Lieutenant

   Europa Cinemas Label Venice 2005

9. Tough Enough

   Europa Cinemas Label Berlinale 2006

10. 12:08 East of Bucharest

    Europa Cinemas Label Cannes 2006

...plus 85 more. View the full list on Letterboxd.

Born in 1990, Trieste Film Festival (former Alpe Adria Cinema) is a film festival focusing on movies coming from central/eastern Europe. It became competitive in 1997; here are the winners of the Prize Trieste for best feature film, awarded in different editions by a jury, the audience, or both (read notes).

1. Premeditated Murder

   directed by Gorčin Stojanović;
   Prize Trieste (jury) - 8. Alpe Adria Cinema 1997

2. Gone with the Train

   directed by Igor Šterk;
   Prize Trieste (jury) - 9. Alpe Adria Cinema 1998 (tied with "Mondo Bobo")

3. Mondo Bobo

   directed by Goran Rušinović;
   Prize Trieste (jury) - 9. Alpe Adria Cinema 1998 (tied with "Ekspres-Ekspres")

4. History of Cinema in Popielawy

   directed by Jan Jakub Kolski;
   Prize Trieste (jury) - 10. Alpe Adria Cinema 1999

5. Idle Running

   directed by Janez Burger;
   Prize Trieste (jury) - 11. Trieste Film Festival 2000

6. England!

   directed by Achim Von Borries;
   Prize Trieste (jury) - 12. Trieste Film Festival 2001

7. The Photograph

   directed by Kazim Öz;
   Prize Trieste (jury) - 13. Trieste Film Festival 2002

8. Year of the Devil

   directed by Petr Zelenka;
   Prize Trieste (jury) - 14. Trieste Film Festival 2003

9. Distant

   directed by Nuri Bilge Ceylan;
   Prize Trieste (jury) - 15. Trieste Film Festival 2004

10. Harvest Time

    directed by Marina Ražbezkina;
    Prize Trieste (jury) - 16. Trieste Film Festival 2005

...plus 30 more. View the full list on Letterboxd.

Only a handful of films directed by women managed to win either the top award, the runner-up one or the best director/third place in one of the "Big Three" European festivals; or got to win/be nominated at the Academy Awards or European Film Awards for best picture/director/foreign language film. Here they are. [Read notes]

1. Olympia: Part One – Festival of the Nations

   directed by Leni Riefenstahl. Mussolini Cup in Venice.

2. Olympia: Part Two – Festival of Beauty

   directed by Leni Riefenstahl. Mussolini Cup in Venice.

3. Red Meadows

   co-directed by Bodil Ipsen. Grand Prize of the Festival in Cannes

4. Little Fugitive

   co-directed by Ruth Orkin. Silver Lion in Venice.

5. Boy of Two Worlds

   directed by Astrid Henning-Jensen. Academy Award nominee, Best Foreign Language Picture.

6. Chronicle of Flaming Years

   directed by Yuliya Solntseva. Best Director in Cannes

7. Le Bonheur

   directed by Agnès Varda. Jury Grand Prix in Berlin.

8. Adoption

   directed by Márta Mészáros. Golden Bear in Berlin.

9. Seven Beauties

   directed by Lina Wertmüller. Academy Award nominee, Best Foreign Language Picture, Best Director.

10. The Ascent

    directed by Larisa Sheptiko. Golden Bear in Berlin.

...plus 158 more. View the full list on Letterboxd.

The Academy Award for Best Foreign Language Film is handed out annually by the U.S.-based Academy of Motion Picture Arts and Sciences to a feature-length motion picture produced outside the United States of America with a predominantly non-English dialogue track.

Every country is invited to submit what it considers its best film to the Academy. The designation of each country's official submission has to be done by an organization, jury or committee composed of people from the film industry, whose ' names must be sent to the Academy. Only one film is accepted from each country.

This is a list of submissions to the Academy Awards for Best Foreign Language Film (International Film) of movies directed/codirected by women, from the 1957 ceremony (first time a film directed by a woman was submitted) onwards.

For each year, films are listed by win, or nomination, or shortlist, and by director's family name.

Notes indicate whether the submitted film won the Oscar, was nominated, made the shortlist (since the 79th Academy Awards), was disqualified or submitted but not appearing on the final list.

Total submissions on the list:
1957-1961: 2
1962-1966: 1
1967-1971: 1
1972-1976: 5
1977-1981: 5
1982-1986: 15
1987-1991: 12
1992-1996: 20
1997-2001: 27
2002-2006: 30
2007-2011: 41
2012-2016: 71
2017-2021: 133
2022-present: 78

1. Be Dear to Me

   directed by Annelise Hovmand. DENMARK.
   30th Academy Awards (submitted)

2. Boy of Two Worlds

   directed by Astrid Henning-Jensen. DENMARK.
   32th Academy Awards (nominated)

3. Sextet

   directed by Annelise Hovmand. DENMARK.
   37th Academy Awards (submitted)

4. The Ballad of Carl-Henning

   co-directed by Lene Grønlykke. DENMARK.
   42nd Academy Awards (submitted)

5. Veronica

   directed by Elisabeta Bostan. ROMANIA.
   46th Academy Awards (submitted)

6. Copernicus

   co-directed by Ewa Petelska. POLAND.
   46th Academy Awards (submitted)

7. India Song

   directed by Marguerite Duras. .
   48th Academy Awards (submitted)

8. Adoption

   directed by Márta Mészáros. HUNGARY.
   48th Academy Awards (submitted)

9. Seven Beauties

   directed by Lina Wertmüller. ITALY.
   49th Academy Awards (nominated)

10. The Ascent

    directed by Larisa Shepitko. SOVIET UNION.
    50th Academy Awards (submitted)

...plus 431 more. View the full list on Letterboxd.

The name of the trophy has changed over the years, in some editions there were ties, in others ing performances were recognised as well.
Here are all the men who received the "Best Actror" award at the Venice Film Festival.
Notes:
Year of the festival
Name(s) of the winner(s)
Official name of the award in that year's edition

• Dr. Jekyll and Mr. Hyde

  1932
  Fredric March
  "Great Gold Medal of the National Fascist Association for Entertainment for the Best Actor" (Special Award)

• Viva Villa!

  1934
  Wallace Beery
  "Great Gold Medal of the National Fascist Association for Entertainment for the Best Actor" (Special Award)

• Crime and Punishment

  1935
  Pierre Blanchar
  "Volpi Cup for the Best Actor"

• The Story of Louis Pasteur

  1936
  Paul Muni
  "Volpi Cup for the Best Actor"

• The Sovereign

  1937
  Emil Jannings
  "Volpi Cup for the Best Actor"

• Pygmalion

  1938
  Leslie Howard
  "Volpi Cup for the Best Actor"

• Don Buonaparte

  1941
  Ermete Zacconi
  "Volpi Cup for the Best Actor"

• Bengasi

  1942
  Fosco Giachetti
  "Volpi Cup for the Best Actor"

• Monsieur Vincent

  1947
  Pierre Fresnay
  "International Award for the Best Actor"

• The Trial

  1948
  Ernst Deutsch
  "International Award for the Best Actor"

...plus 69 more. View the full list on Letterboxd.

The name of the trophy has changed over the years, in some editions there were ties, in others ing performances were recognised as well.
Here are all the women who received the "Best Actress" award at the Venice Film Festival.
Notes:
Year of the festival
Name(s) of the winner(s)
Official name of the award in that year's edition

• The Sin of Madelon Claudet

  1932
  Helen Hayes
  "Great Gold Medal of the National Fascist Association for Entertainment for the Best Actress" (Special Award)

• Little Women

  1934
  Katharine Hepburn
  "Great Gold Medal of the National Fascist Association for Entertainment for the Best Actress" (Special Award)

• Episode

  1935
  Paula Wessely
  "Volpi Cup for the Best Actress"

• Sacrifice of Honor

  1936
  Annabella
  "Volpi Cup for the Best Actress"

• Kid Galahad

  1937
  Bette Davis
  "Volpi Cup for the Best Actress" (also for "Marked Woman")

• Marked Woman

  1937
  Bette Davis
  "Volpi Cup for the Best Actress" (also for "Kid Galahad")

• Marie Antoinette

  1938
  Norma Shearer
  "Volpi Cup for the Best Actress"

• Annelie

  1941
  Luise Ullrich
  "Volpi Cup for the Best Actress"

• The Golden City

  1942
  Kristina Söderbaum
  "Volpi Cup for the Best Actress"

• Angelina

  1947
  Anna Magnani
  "International Award for the Best Actor"

...plus 65 more. View the full list on Letterboxd.

Established in 1998 in honor of Italian actor Marcello Mastroianni, who died at the end of 1996, the award was created to recognize an emerging actor or actress in a movie selected for the main competition at the Venice Film Festival. So far, it was awarded to 18 male and 12 female performers.

• Shooting the Moon

  1998
  Niccolò Senni

• Northern Skirts

  1999
  Nina Proll

• Liam

  2000
  Megan Burns

• Y Tu Mamá También

  2001
  tie - Gael García Bernal & Diego Luna

• Oasis

  2002
  Moon So-ri

• Raja

  2003
  Najat Benssallem

• Working Slowly (Radio Alice)

  2004
  tie - Marco Luisi & Tommaso Ramenghi

• Heading South

  2005
  Ménothy Cesar

• The Untouchable

  2006
  Isild Le Besco

• The Secret of the Grain

  2007
  Hafsia Herzi

...plus 18 more. View the full list on Letterboxd.

Back in 2012, the International Venice Film Festival started a series of workshops, under the name "Biennale College - Cinema", aimed at helping young authors to write, produce and direct a movie in 12 months. Each year three or four projects (only two were ready in 2020 due to delays related to Covid-19 pandemics, but six were presented in 2021) are selected and nurtured into becoming feature films. Here they are, so far.

• Mary Is Happy, Mary Is Happy.
• Memphis
• Yuri Esposito
• Blood Cells
• H.
• Short Skin
• Baby Bump
• Blanka
• The Fits
• Ears

...plus 31 more. View the full list on Letterboxd.

• La Grande Bouffe
• Soylent Green
• Who Is Killing the Great Chefs of Europe?
• A Private Function
• Tampopo
• Babette's Feast
• The Cook, the Thief, His Wife & Her Lover
• Delicatessen
• Eat Drink Man Woman
• Ratatouille

...plus 2 more. View the full list on Letterboxd.

1. The Devils
2. Piran-Pirano
3. The Umbrellas of Cherbourg
4. The Young Girls of Rochefort
5. Amarcord
6. 8½
7. The Red Shoes
8. Pocketful of Miracles
9. Lady for a Day
10. Fellini's Casanova

...plus 33 more. View the full list on Letterboxd.