Sole (2019)

Sole, Carlo Sironi (2019)

Il rock melodico dei Draft & Bill

Chi ricorda i Draft & Bill? #pinerolo #pinerolese

Verso la fine degli anni Ottanta, sulle scene pinerolesi, comparve una formazione che si impose per la sua musica raffinata e per le sue capacità esecutive ineccepibili. Stiamo parlando dei Draft & Bill dei gemelli Bai e di Giustiniano La Vecchia. Un trio completato, nella formazione più classica, dalla voce di Miky Rissolo e da Alberto Macerata al basso. Proprio a cavallo tra i due decenni, la…

View On WordPress

Bruno + text posts (2/?)

Image descriptions under the cut

1. Bruno guiding Mirabel out the door of his room in the walls. pathologising's text post reads "can you please leave me alone I need a minute to be diabolical in my room alone”

2. Bruno is having a vision. starlyt's post reads "my hobbies? Uhhhhh symbolism mostly. metaphors and implications and the like."

3. Bruno sitting on his armchair, smiling at his rat telenovela. bloodhail.mp3's post reads "i was put on this earth to be a bloke who does fuck all"

4. Bruno with his hood, up standing ominously at the end of a slim hallway. gayarsonist’s post reads “walking around my own house wrapped in a blanket like i’m a depressed victorian ghost. i’m a hooded and cloaked assassin on their way to kill the king. i’m a hardworking peasant on their way to the market. i’m a royal fleeing my palace as it burns down behind me. i’m an ancient greek citizen walking the streets of athens. i’m a liddol old russian lady selling beets. i’m a wizard. i’m a bat. the style… the range… i’m the star of a movie theatre in my own mind“ 

5. Bruno carrying a rat and grinning. gayarsonist's post reads "i refuse to apologize for being weird or offputting actually that's your problem i'm having a fantastic time"

6. Bruno is looking over his shoulder, smiling coyly, about to enter the hole in the wall behind a painting. standingcowrrdly's post says "do my dark circles and deteriorating health make me look hot"

7. Bruno is grinning, holding an arepa con queso, showing it off. a oist by jame7t's reads "im not really like a househusband or a housewife im more like a house beast, im in your walls causing mysteries and stealing your things"

8. Bruno walking away from a shattered vision on the ground. a post by hollenengell says ""how are u?" i literally wanna disappear without an explanation,,, thx for asking!!!

9. A blurry Bruno, pointing up while ranting. matchboxed’s post says “when i get mad i’m gonna start saying shit like “why i oughta” as i wind up my fist

10. Bruno having a vision, eyes closed, looking pained, hands raised near his face. 10049502004422's post says "me [completely out of touch with my feelings, trying to describe an emotion] i feel, um, glittery? buzzy. like peeling my skin off.

SAUL STEINBERG MILANO NEW YORK

(segue) La mostra milanese offre una bella fetta della produzione di Steinberg, anche se comunque limitata rispetto all’enorme mole di opere lasciateci dal grande artista. Il magnifico olio su tela del 1941 senza titolo della Bruno Coen Sacerdotti Collection, ben riassume l’idea di Steinberg sull’Italia, anzi l’idea di “una” Italia; l’Italia dell’arte, delle piazze (prima che diventassero posteggi), dei tipi umani, del mare, in fondo un’Italia del saper vivere (anche del dolce-far-niente), che lo attirava molto. Magnifico ed irriverente il suo alfabeto illustrato per Pietro Nivola del 1944, memorabile il suo disegno della Galleria Vittorio Emanuele di Milano, popolata da una folla vociante e indaffarata che, per dinamicità e armonia, potrebbe stare al pari della celebrata “Rissa in Galleria” di Umberto Boccioni. E che dire della sua assurda ed ilare “araldica”, qui ben ricordata con “E Pluribus per Diem (Saco Warrior) del 1943. Ma è forse lo sguardo incantato ed incantevole dell’artista a saperci mostrare un mondo pregno di poesia visiva; ecco allora che anche un complesso industriale diventa un paesaggio fiabesco. Lo stesso segno emozionale, partecipativo, ingenuo, ma analitico, racconta un mondo di oggetti ed arredi che possono essere usciti indistintamente dal “Giornalino di Gianburrasca” o dalla “Fallingwater House” di Frank Lloyd Wright. In realtà il suo era uno sguardo solo apparentemente ingenuo; nel suo tratto è connaturato il desiderio di una caustica analisi visiva di cose e case, di vizi e vezzi e, a proposito di vezzi, ineguagliabili per ironia, capacità di sintesi e invenzione formale, sono i suoi ritratti che chiamare caricature potrebbe essere fortemente riduttivo, sia che si tratti di signore dei salotti milanesi, di una sua maschera-autoritratto o del disegno parodistico dell’autoritratto di Van Gogh: l’invenzione è sempre meravigliosa e la novità è la regola. Artista apprezzato da grandi nomi della cultura internazionale come Saul Bellow, Ernst Gombrich, Eugène Ionesco, Roland Barthes, Italo Calvino, fu amico fraterno di Aldo Buzzi col quale intrattenne anche un fitto e particolare carteggio (raccolto qualche anno fa in un magnifico volume pubblicato da Adelphi). Insomma una figura di intellettuale a tutto tondo che meriterebbe magari di essere ricordata con un monumento in una piazza milanese, ma non un monumento qualsiasi, magari uno che assomigli ad uno dei suoi arguti disegni, pieni di “esprit” e assolutamente privi di retorica artistica. Del resto fu proprio lui a scrivere “L’arte precede la tecnica come l’odore precede la torta”. Non perdetevi quindi questa mostra di un milanese di New York o di un newyorkese di Milano, come avrebbe certamente amato essere chiamato Saul Steinberg.

Esempi, Ristampa. Illuminazione 1934 - 1964

A cura di  Gianpiero Aloi

Compasso Srl, Milano 2019, 256 pagine, 500 ill. b/n, cm 24x28,5, ed.ital./inglese ISBN   9788894399509

euro 89,90

email if you want to buy :[email protected]

Oltre 500 modelli di lampade da tavolo, terra, soffitto e parete, 200 progettisti, 30 anni di produzione italiana ed estera schedati cronologicamente in una ristampa anastatica senza precedenti: in un solo libro, il meglio di sette volumi introvabili, uno strumento indispensabile per progettisti, studiosi e appassionati. Era il 1934 quando l’editore Ulrico Hoepli pubblicò il primo dei volumi di Roberto Aloi – L’Arredamento moderno – una raccolta di quanto di meglio l’arredamento di interni offriva all’epoca. Proprio dal volume Esempi del 1956 dedicato all’Illuminazione d’oggi, Gianpiero Aloi, figlio di Roberto, e Daniele Lorenzon, appassionato gallerista di modernariato e anche editore con Compasso, sono partiti per comporre Esempi Illuminazione 1934 – 1964, una ristampa anastatica di quell’edizione integrale, affiancandola a tutti i capitoli relativi al tema dell’illuminazione comparsi nei titoli precedenti e anche successivi de L’Arredamento Moderno. Tra gli architetti, designer e aziende documentati: #FrancoAlbini, #Arredoluce, #Arteluce, Azucena, #Barovier&Toso, #B.B.P.R., #PaoloBuffa, Franco Buzzi, Luigi #CacciaDominioni, Pietro Chiesa, Carlo De Carli, #FontanaArte, Guido Frette, Ignazio #Gardella, Cesare Lacca, Bruno #Munari, Oluce, Ico Parisi, #GioPonti, Salviati, Gino #Sarfatti, #Stilnovo, #Venini, Vittoriano Viganò.

06/02/21

orders to:     [email protected]

ordini a:        [email protected]

twitter:         @fashionbooksmi

instagram:   fashionbooksmilano, designbooksmilano tumblr:          fashionbooksmilano, designbooksmilano

ok. the 21st night of september is officially the night i finally beat let’s go eevee after almost 3 years

pumping eevee up to lv80 was enough for it to carry my team of unevolved pokemon. it usually took 2 hits to ko stuff though so it ended up taking some damage (and almost fainted on bruno). turns out jynx’s defense is so low that it didnt even matter that i couldnt cover its weaknesses, dig almost wiped it out in one hit

lance ended up being the easiest, almost all his pokemon went down in one hit except charizard

and when i was fighting the rival (whom i forgot i’d named larvitar... you really can see the resemblance though) i used buzzy buzz on his pidgeot and then noticed the veevee vollee prompt so i decided to use that for the rest of it, which was lucky because he chose that turn to be sneaky and switch to marowak who almost got wiped out in one hit from it

anyway now i guess i’ll grab mewtwo (though i already got one off the gts, and i wouldve gotten the event one if pokemon pass hadnt glitched and refused to show me the code i got through it) and then maybe do some of the master trainers (definitely not all 153 since i dont like this game enough for that). already completed the small excuse for a pokedex a long time ago

[PREVIEW 2021] Nos albums et films les plus attendus de 2021 ! 💿🎬✨ ALBUMS : JANVIER 09/01 : Casper Clausen - Better Way 15/01 : Shame - Drunk Tank Pink             Buck Meek - Two Saviors             Midnight Sister - Painting the Roses 22/01 : Rhye - Home             Still Corners - The Last Exit 29/01 : Puma Blue - In Praise of Shadows             Goat Girl - On All Fours             Buzzy Lee - Spoiled Love FÉVRIER 05/02 : Black Country, New Road - For the First Time             The Pirouettes - Equilibre  19/02 : Indigo Sparke - Echo             Voyou - Chroniques terrestres Vol. 1 (EP) 26/02 : Frànçois & The Atlas Mountains - Banane bleue             Smerz - Believer MARS 05/03 : Alex Bleeker - Heaven on the Frontline 19/03 : Alice Phoebe Lou - Glow 26/03 : The Antlers - Green to Gold              L’Impératrice - Tako Tsubo AVRIL 02/04 : La Femme - Paradigmes Et ceux bientôt annoncés de : Arcade Fire, Phoenix, Frank Ocean, Darkside, St. Vincent, FKA twigs, James Blake, David Numwami, Romy, Desire, Motorama, Jimmy Whispers, Juliette Armanet, The War on Drugs, Steve Gunn, Japanese Breakfast, Moodoïd (EP), Hand Habits (EP)… EXCLU : Interviews de Frànçois & The Atlas Mountains et David Numwami à venir ! ✨ FILMS : Sous réserve d’une ouverture des cinémas mi-février (dates suivantes à confirmer) : FÉVRIER 17/02 : ‘Au crépuscule’ de Sharunas Bartas             ‘Sème le vent’ de Danilo Caputo 24/02 : ‘De nos frères blessés’ de Hélier Cisterne MARS 03/03 : ‘A Good Man’ de Marie-Castille Mention-Schaar 10/03 : ‘Teddy’ de Ludovic et Zoran Boukhema              ‘Le Discours’ de Laurent Tirard              ‘After Love’ d’Aleem Khan 24/03 : ‘Gagarine’ de Fanny Liatard et Jérémy Trouilh AVRIL 07/04 : ‘Ammonite’ de Francis Lee             ‘L’oubli que nous serons’ de Fernando Trueba 14/04 : ‘Aya et la sorcière’ de Goro Miyazaki 21/04 : ‘Nomadland’ de Chloé Zhao             ‘Minari’ de Lee Isaac Chung             ‘Louloute’ de Hubert Viel MAI 05/05 : ‘Nadia, Butterfly’ de Pascal Plante             ‘La Mort du cinéma et de mon père aussi’ de Dani Rosenberg 12/05 : ‘9 jours à Raqqa’ de Xavier de Lausanne JUIN 09/06 : ‘Sweat’ de Magnus von Horn JUILLET 14/07 : ‘Suis-moi, je te fuis’ de Kôji Fukada 21/07 : ‘Fuis-moi, je te suis’ de Kôji Fukada SEPTEMBRE 29/09 : ‘Dune’ de Denis Villeneuve OCTOBRE 27/10 : ‘Illusions perdues’ de Xavier Giannoli DÉCEMBRE 22/12 : ‘Matrix 4’ de Lana Wachowski Films avec nouvelles dates de sortie à venir : ‘Mandibules’ de Quentin Dupieux ‘Slalom’ de Charlène Favier ‘Les 2 Alfred’ de Bruno Podalydès ‘La Nuée’ de Just Philippot ‘Médecin de nuit’ d’Elie Wajeman ‘Seize Printemps’ de Suzanne Lindon ‘Si le vent tombe’ de Nora Martirosyan ‘Vaurien’ de Peter Dourountzis ‘Vitalina Varela’ de Pedro Costa ‘L’Homme qui a vendu sa peau’ de Kaouther Ben Hania ‘Rouge’ de Farid Bentoumi ‘Amants’ de Nicole Garcia ‘Ibrahim’ de Samir Guesmi ‘Pour l’éternité’ de Roy Andersson ‘L’Origine du monde’ de Vincent Lafitte Et ceux bientôt annoncés : ‘The French Dispatch’ de Wes Anderson ‘True Mothers’ de Naomi Kawase ‘Au commencement’ de Déa Kulumbegashvili ‘Annette’ de Leos Carax ‘Benedetta’ de Paul Verhoeven ‘Paradis sale’ de Bertrand Mandico ‘Feu !’ de Claire Denis ‘Bergman Island’ de Mia Hansen-Løve ‘Tromperie’ d’Arnaud Desplechin ‘Soggy Bottom’ de Paul Thomas Anderson ‘Blossoms’ de Wong Kar-Wai ‘La Grippe’ de Kirill Serebrennikov ‘The Northman’ de Robert Eggers ‘Par un demi-clair matin’ de Bruno Dumont ‘The Card Counter’ de Paul Schrader ‘Viens je t'emmène’ d’Alain Giraudie ‘Le Genou d’Ahed’ de Nadav Lapid ‘La Colline perfumée’ d’Aberrahmane Sissako ‘Drive My Car’ de Ryūsuke Hamaguchi ‘Spencer’ de Pablo Larraín ‘La Croisade’ de Louis Garrel ‘Red Rock’ de Sean Baker ‘Madres Paralelas’ de Pedro Almodóvar ‘Eureka’ de Lisandro Alonso ‘Tout s’est bien passé’ de François Ozon ‘Memoria’ d’Apichatpong Weerasethakul ‘Trois étages’ de Nanni Moretti ‘Titane’ de Julia Ducornau ‘Pop. 1280’ de Yorgos Lanthimos ‘Les Cinq diables’ de Léa Mysius ‘La Zone d’intérêt’ de Jonathan Glazer ‘Earwig’ de Lucile Hadzihalilovic ‘The Hand of God’ de Paolo Sorrentino ‘Human Flowers of Flesh’ de Helena Whittmann ‘Ecole de l’air’ de Robin Campillo ‘To the Edge of Sorrow’ de Christian Mungiu ‘The Way of the Wind’ de Terrence Malick ‘Armaggedon Time’ de James Gray ‘The Tragedy of Macbeth’ de Joel Coen ‘Zola’ de Janicza Bravo ‘Bora Bora’ d’Albert Serra ‘Decision to Leave’ de Park Chan-wook ‘Blood on the Tracks’ de Luca Guadagnino ‘Les Olympiades’ de Jacques Audiard ‘Pour le meilleur et pour le pire’ de Stéphane Brizé ‘Where to Land’ de Hal Hartley ‘Mektoub My Love : Intermezzo’ d’Abdellatif Kechiche ‘Mektoub My Love : Canto Due’ d’Abdellatif Kechiche ‘Apollo 10 ½’ de Richard Linklater ‘Occupied City’ de Steve McQueen ‘Molly in the Darknet’ de Gaspar Noé ‘Acide’ de Just Philippot ‘Le Quai de Ouistreham’ d’Emmanuel Carrère ‘Triangle of Sadness’ de Ruben Östlund ‘La Pire Personne au monde’ de Joachim Trier ‘I Am Going to Kill You’ de Nicolas Winding Refn ‘The Story of My Wife’ de Ildikó Enyedi ‘The Souvenir : Part II’ de Joanna Hogg ‘Serre-moi fort’ de Mathieu Amalric ‘Arthur Rambo’ de Laurent Cantet ‘Les Intranquilles’ de Joachim Lafosse ‘Albatros’ de Xavier Beauvois ‘Quand les vagues se retirent’ de Lav Diaz A&B

Jonas Brothers Notch First Billboard Hot 100 No. 1 as 'Sucker' Blasts In On Top

The trio had previously reached a No. 5 high with Burnin' Up" in 2008.

3/11/2019 by Gary Trust

Jonas Brothers' comeback single "Sucker" rockets onto the Billboard Hot 100 songs chart (dated March 16) at No. 1, marking their first leader on the list.

The group, consisting of Joe, Kevin and Nick Jonas, initially appeared on the chart over 12 years go and reached a prior No. 5 high with "Burnin' Up" in 2008.

Jonas Brothers, who formed in 2005, ascended to boy band royalty soon after thanks to their numerous Disney TV and film projects, in addition to their music, which included a pair of No. 1 albums on the Billboard 200 chart in 2008 and 2009. After their split in 2013, they announced their reunion Feb. 28 and released "Sucker," and its official video, the following day (at midnight ET on March 1).

Also on the latest Hot 100, Cardi B and Bruno Mars' "Please Me" blasts to a new No. 3 peak following the March 1 premiere of its official video.

Let's run down the top 10 of the newest Hot 100, which blends all-genre U.S. streaming, radio airplay and digital sales data. All charts will update on Billboard.com tomorrow (March 12).

No. 1 in sales & streams: "Sucker," released on Republic Records, starts as the 1,085th No. 1 in the Hot 100's 60-year history.

The track launches atop the Streaming Songs chart with 43.7 million U.S. streams in the week ending March 7, according to Nielsen Music. The trio reigns in its first appearance on the tally (which began in 2013).

"Sucker" also debuts at No. 1 on Digital Song Sales with 88,000 first-week downloads sold in the week ending March 7. The trio's 22nd entry on the chart is its first No. 1 (following three No. 2-peaking hits, all in 2008: "Burnin' Up," "Pushing Me Away" and "Tonight").

On the Radio Songs chart, "Sucker" arrives at No. 46, a career-best rank for the act, with 22.6 million audience impressions in the week ending March 10.

Helping power the strong start for "Sucker," Jonas Brothers promoted their return with a week-long residency last week on CBS' The Late Late Show With James Corden, including their buzzy Carpool Karaoke.

First No. 1, after 12 years on the Hot 100: Jonas Brothers achieve their first Hot 100 No. 1 after initially appearing on the chart 12 years and one month ago: first entry "Year 3000" debuted, at No. 40, on the chart dated Feb. 17, 2007 (and rose to No. 31 that March).

The group charted 16 titles in 2007-09 and one more (the No. 60-peaking "Pom Poms") in 2013. Two top 10s preceded "Sucker": "Burnin' Up" (No. 5) and "Tonight" (No. 8), both in 2008.

Jonas Brothers' 12-year-plus trek for a first Hot 100 No. 1 marks the longest since Daft Punk waited close to 20 years between its first entry, "Around the World" (August 1997), and first leader, as featured on The Weeknd's "Starboy" (January 2017). The record? Santana spanned almost exactly 30 years between its first Hot 100 visit, with "Jingo" (Oct. 25, 1969), and its first No. 1, "Smooth," featuring Rob Thomas (Oct. 23, 1999).

…and after six years away from the Hot 100: "Pom Poms," Jonas Brothers' last Hot 100 entry before "Sucker," spent a week on the chart, dated April 20, 2013. Their nearly six-year absence marks the longest break between a prior entry and a chart-topping comeback since Luis Fonsi took eight years and six months between his No. 92-peaking "No Me Doy Por Vencido" in 2008 and his record-tying 16-week No. 1 "Despacito," with Daddy Yankee and featuring Justin Bieber, in 2017.

Oh, brothers: Jonas Brothers are the fifth act with the word "brothers" in its name to top the Hot 100, following The Everly Brothers, The Righteous Brothers, The Doobie Brothers and Bellamy Brothers. Of those, the Jonases join the Everly and Bellamy duos as real-life sibling acts to lead the list.

Of course, other (partial or full) sibling and/or family acts have the led the Hot 100, including The Beach Boys, Jackson 5, Carpenters, The Osmonds, Bee Gees, Heart, Bangles, New Kids on the Block, Wilson Phillips, Nelson, Hanson, K-Ci & JoJo, 98 Degrees, Rae Sremmurd and Migos.

First boy band at No. 1 in over 16 years: Jonas Brothers are the first act regarded as a boy band (even if Nick is 26, Joe is 29 and Kevin is 31) to crown the Hot 100 since B2K, whose "Bump, Bump, Bump," with P. Diddy, led the chart dated Feb. 1, 2003. (In December, Billboard exclusively broke the news of B2K's reunion for the Millennium Tour, which began Friday, March 8.)

Before B2K, in Y2K, *NSYNC hit No. 1, in July 2000, with "It's Gonna Be Me," after 98 Degrees had led that February as featured, with Joe, on Mariah Carey's "Thank God I Found You." (As for the other boy band kings to break through in that era, Backstreet Boys reached a No. 2 best with "Quit Playing Games [With My Heart]" in 1997.)

Among other boy bands this decade on the Hot 100, One Direction hit No. 2 with "Best Song Ever" in 2013; The Wanted reached No. 3 with "Glad You Came" in 2012; 5 Seconds of Summer scored their first top 10, reaching No. 7 last October, with "Youngblood"; and BTS became the first K-pop boy band to notch a top 10, with "Fake Love" (No. 10, last June).

Meanwhile, between B2K and Jonas Brothers' coronations, *NSYNC's Justin Timberlake (most recently in 2016) and 1D's Zayn (the same year, with "Pillowtalk") topped the Hot 100 as soloists.

Speaking of boy band members on their own, while "Sucker" is the first single by Joe, Kevin and Nick Jonas as the Jonas Brothers since 2013, Nick logged the No. 7-peaking solo Hot 100 hit "Jealous" in 2015, while, as a member of DNCE, Joe reached No. 9 in 2016 via the act's "Cake by the Ocean."

Sweet success: A decade before "Sucker," Kelly Clarkson topped the Hot 100 for two weeks in February 2009 with "My Life Would Suck Without You." (Unwrapping a No. 1 related in name to Jonas Brothers' new leader, Lil Wayne licked the competition in 2008 with "Lollipop," featuring Static Major.)

[...]

Full article: Billboard

Gli invisibili. Cosa vedere al cinema dal 24 ottobre

Gli invisibili. Cosa vedere al cinema dal 24 ottobre

Cosa vedere al cinema dal 24 ottobre? Come ogni settimana arriva la nostra rubrica di cinema poco visibile. Vi segnaliamo e consigliamo i film in sala con una bassa distribuzione, le pellicole poco pubblicizzate che meriterebbero di essere conosciute. Correte a cercarli nella vostra città prima che vengano tolti, oppure se non li trovate, segnateveli per recuperarli in futuro.

  Sole

(Italia,…

View On WordPress

الفيلم الاجنبي Sole 2019 مترجم

الفيلم الاجنبي Sole 2019 مترجم

مشاهدة وتحميل الفيلم الاجنبي Sole 2019 مترجم مشاهدة اون لاين تحميل مباشر , قصة Sole هو فيلم من بطولة Bruno Buzzi Sandra Drzymalska و Marco Felli Lena حامل في شهرها السابع وهي جاهزة لبيع الطفل في بطنها يوافق Ermanno على التظاهر بأنه والد Fabio سيدفع عم Ermanno

View On WordPress

,,~(2020) regarder,,~ Sole Film Streaming VF HD en Complet Et VOSTFR

⭐⭐⭐⭐ ⭐⭐⭐ .#Streaming vf .#Sole .#Vostfr

REGARDEZ,] Sole (2020) Film Streaming Online VF Complet HD, Regarder Regarder Sole (2020) film complet en ligne MOVIES gratuit,Télécharger Sole Torrent Film Françaais, REGARDER Sole streaming vF(2020) film complet HD , Regarder Sole (2020) film complet en ligne,

REGARDER ░░▒▓██► Sole (2020) Film Streaming Online VF Complet HD

TELECHARGER ░░▒▓██► Sole (2020) Film Streaming Online VF Complet HD

Lena est enceinte de sept mois et elle est prête à vendre le bébé dans son ventre. Ermanno accepte de prétendre être le père. Fabio, l'oncle d'Ermanno, la paiera pour acheter l'enfant que lui et sa femme Bianca ne peuvent pas avoir. Une fausse adoption entre parents, une échappatoire permettant de contourner la loi, car en Italie la maternité de substitution est interdite. Un monde dans lequel l’argent est la seule norme de valeur, la seule chose qui compte. Ermanno et Lena sont deux étrangers qui doivent prétendre en public être un couple et vivre ensemble jusqu'à l'accouchement. Ils ont l'habitude de ne penser qu'à eux-mêmes et ils se battent tout le temps. Mais vivant côte à côte, ils commencent à devenir ce qu’ils prétendaient être. Genre: Drame

Etoiles: Sandra Drzymalska, Claudio Segaluscio, Bruno Buzzi, Barbara Ronchi, Vitaliano Trevisan, Marco Felli

Équipage: Gergely Pohárnok (Director of Photography), Carlo Sironi (Director), Carlo Sironi (Writer), Giulia Moriggi (Writer), Antonio Manca (Writer), Teoniki Rożynek (Original Music Composer)

Pays: Italy, Poland

Langue: PolskiItaliano

Studio: Kino Produzioni, Lava Films, Rai Cinema

Sole Streaming,

Sole Streaming vf,

Sole Streaming Vostfr,

Sole Streaming vf gratuit,

Sole Streaming You,

Sole Telecharger,

Sole en streaming,

Sole Uptobox,

Sole en français,

Sole Streaming vf gratuit complet, " "

SYNOPSIS ET DÉTAILS

E1-A visite l'île de Nabu où ils peuvent enfin faire un vrai trEffacer l’historiqueil de héros. L'endroit est si paisible qu'il ressemble plus à des vacances… jusqu'à ce qu'ils soient attaqués par un méchant avec un insolent Quirk! Son pouvoir est étrangement familier, et il semble que Shigaraki ait joué un rôle dans le plan. Mais avec All Might à la retraite et la vie des citoyens en jeu, il n'y a pas de temps pour les questions. Deku et ses amis sont la prochaine génération de héros, et ils sont le seul espoir de l'île.

Combien de temps as-tu dormi pendant le film Regarder Ad Astra? La mRegarder Terminator: Dark Fateique, l’histoire et le message étaient phénoménaux chez Regarder Ad Astra. Je ne pourrais jaTerminator: Dark Fateis voir un autre film cinq fois comme je l’ai fait celui-ci. Retournez voir une seconde fois et faites attention. Regarder Regarder Ad Astra Movie WEB-DL Il s’agit d’un fichier extrait sans erreur d’un serveur telRegarder Ad Astra, tel que Netflix, ATerminator: Dark Fatezon Video, Hulu, Crunchyroll, DiscoveryGO, BBC iPlayer, etc. Il s’agit également d’un film ou d’une émission télévisée téléchargé via…

Combien de temps as-tu dormi pendant le film Sole (2020)? La mEffacer l’historique (2020)ique, l'histoire et le message étaient phénoménaux chez Sole (2020). Je ne pourrais jaEffacer l’historique (2020)is voir un autre film cinq fois comme je l'ai fait celui-ci. Retournez voir une seconde fois et faites attention. Regarder Sole (2020) Movie WEB-DL Il s'agit d'un fichier extrait sans erreur d'un serveur telEffacer l’historique (2020), tel que Netflix, AEffacer l’historique (2020)zon Video, Hulu, Crunchyroll, DiscoveryGO, BBC iPlayer, etc. Il s'agit également d'un film ou d'une émission télévisée t��léchargé via un site web comme on lineistribution, iTunes. La qualité est assez bonne car ils ne sont pas ré-encodés. Les flux vidéo (H.264 ou H.265) et audio (AC3 / Sole (2020) C) sont généralement extraits de iTunes ou d'AEffacer l’historique (2020)zon Video, puis redistribués dans un conteneur MKV sans sacrifier la qualité. DownloadMovie Sole (2020) L'un des impacts les plEffacer l’historique (2020) importants de l'indEffacer l’historique (2020)trie du streaming vidéo L’indEffacer l’historique (2020)trie du DVD a connu un véritable succès grâce à la vulgarisation en Sole (2020)sse du contenu en ligne. La montée en puissance de la diffEffacer l’historique (2020)ion multimédia a provoqué la chute de nombreEffacer l’historique (2020)es sociétés de location de DVD telles que BlockbEffacer l’historique (2020)ter. En juillet 2020, un article du New York Times a publié un article sur les SerEffacer l’historique (2020)s de DVD-Video de Netflix. Il a déclaré que Netflix continue ses DVD serEffacer l’historique (2020)s avec 5,3 millions d’abonnés, ce qui représente une baisse importante par rapport à l’année précédente. D'autre part, leurs serEffacer l’historique (2020)s en streaming comptent 65 millions de membres. Dans une étude de Sole (2020)rs 2016 évaluant «l'impact de la lecture de film en continu sur un DVD traditionnel MovieRental», il a été constaté que les répondants n'achetaient pas des films sur DVD aEffacer l’historique (2020)si gros que le mien, voire jaEffacer l’historique (2020)is, comme la diffEffacer l’historique (2020)ion en continu a conquis le Sole (2020)rché. Regarder le film Sole (2020), les téléspectateurs n'ont pas trouvé la qualité du film très différente entre le DVD et le streaming en ligne. Les questions qui, de l'avis des répondants, nécessitaient d'être améliorées avec la lecture en continu de films incluaient des fonctions d'Effacer l’historiquence rapide ou de rembobinage, ainsi que des fonctions de recherche. L'article souligne que la qualité de la diffEffacer l’historique (2020)ion de films en continu en tant que secteur ne fera qu'augmenter avec le temps, alors que les revenEffacer l’historique (2020) publicitaires augmentent chaque année dans l'ensemble du secteur, ce qui incite à la production de contenEffacer l’historique (2020) de qualité.

New from Robert Daniels on 812 Film Reviews: CIFF Reviews: Sole, Once Upon a River, Jojo Rabbit, and La Llorona

My second dispatched from the 55th annual Chicago International Film Festivals finds a lot of coming-of-age and encompasses multiple countries from Italy to America to Germany and Guatemala: ranging from in subject matter from teen pregnancy to Nazism to ghost stories. My reviews for Sole, Once Upon a River, Jojo Rabbit, and La Llorona follow below.

Dead ends don’t just happen down the road, sometimes they’re put up at birth. In Carlo Sironi’s feature debut Sole two people come together who’ve known the street name of that dead end for decades. They’re the detached Ermanno (Claudio Segaluscio) and equally as dispirited Lena (Sandra Drzymalska). From Poland, and three weeks from giving birth, Lena has arrived in Italy to sell her unborn baby to a sterile couple Fabio (Bruno Buzzi) and Bianca (Barbara Ronchi). To facilitate the exchange, Fabio enlists his nephew Ermanno to look after the pregnant Lena. Each will be paid a tidy fee for their work. Seems simple.

However, the two are ever changing. Water marks one of Sole’s significant visual cues. In fact, Ermanno’s simple apartment, where Lena stays, is surrounded by its image. Rarely stagnant, water carries a cyclical effect, forever morphing yet remaining the same. Both Ermanno and Lena go under a change over the course of 90 minutes. The young man, who’s resigned himself to gambling and petty crime, begins to think of others. His expressionless glazed face becomes enraptured with the thought of a family, of holding a steady job, of his love for the woman he’s watching and the baby she carries. On the other hand, Lena also dissolves. She comes to care for a child she proclaimed so willing to give up. Throughout, Segaluscio and Drzymalska provide an incredible emotional tango of suppression, while tussling with their downtrodden characters.

Ermanno and Lena’s interwoven evolution anchors each successive avoidance of their true feelings, giving the first act a tension lacking in the second and third. Nevertheless, Sironi’s paired character study leaves one imaginative of the life the two could lead if they only had the ability to seize it.

Rivers in storytelling: especially fairy tales, have always served as magical avenues, where odd people and creatures unexplainably appear. While odd creatures don’t exist in Chicago filmmaker Haroula Rose’s feature debut Once Upon a River, a plethora of characters do appear to Margo Crane (Kenadi DelaCerna) in a coming-of-age period piece that offers magical moments during troubling events.

Opening in Michigan 1977, Margo narrates over images of her scouring the woods with a rifle and a copy of Annie Oakley. She’s a hunter, trained by her single father (Tatanka Means) who’s still reeling from her mother abandoning the two a year prior. In this town, her father’s half-brother Cal Murray (Coburn Goss) controls everything and he’s taken an uneasy shining to his 15-year old niece. Through grooming, much of which is done in plain view of his prejudiced sons Junior (Arie Thompson) and Billy (Sam Straley)—he dangles the promise of hunting with him to gain her trust, ultimately luring her into a shed to rape her. Later, Margo tries to shoot her uncle but in the melee her father is killed by Billy, causing her to she flees in a boat down river to search for her mother.

Over the span of the film’s 92 minutes, Rose charts a path where Margo discovers a litany of characters. There’s Will (Ajuawak Kapashesit), a traveling loner Margo falls for. She also enlists the help of Paul (Evan Linder) and Brian (Dominic Bogart), poachers who buy deer meat from her. And later, she meets Smoke (John Ashton): an aging dying musician who cares for her as a daughter and his friend Fishbone (Kenn E. Hedd). The milieu acts as the background to Margo finding her mother (Lindsay Pulsipher), her grappling with an unplanned pregnancy, and instances of racism: she’s partly Native American.

Rose provides a trimmed narrative. And though there are instances of unbelievable coincidences, maybe adding a hint of magical realism, Once Upon a River—with a tremendous performance from Kenadi DelaCerna as Margo—enchants us in this simple but evocative coming-of-age tale.

Hitler is boring. Well, if it’s Taika Waititi’s Adolph Hitler. His Jojo Rabbit—a coming-of-age story set during the tail end of World War II—sees Jojo (Roman Griffin Davis): a young fanatic of the Hitler Youth Core, question his allegiances even as the fuhrer accompanies him as an imaginary friend in a cheeky but all too safe narrative.

Waititi cleverly paints the normalization of Nazism and Antisemitism, first through the opening sequence playing a German dubbed version of the Beatles hit “I Want to Hold Your Hand,” comparing the wave of fascism to Beatlemania, then by displaying the myriad of ways Jojo attempts to prove the doctrine bandied by the Third Reich. All the while, the boy’s ole’ pal Adolph serves as his imaginary life coach and guru. Even so, the first act labors. Waititi’s Hitler isn’t all that interesting. Certainly he’s been sanitized because he exists in the mind of a child, but there’s only so much wink wink baiting that can happen before the expedition makes one weary of its odd safeness. Especially because each time Hitler appears, he snatches us off the narrative’s trail of Jojo’s personal journey.

Jojo Rabbit rarely remains on path, speeding ahead, until the film expresses his relationship with his subversive mother Rosei (Scarlett Johansson) and reveals the existence of Elsa (Thomasin McKenzie). Rosei, a single mother, deeply cares for Jojo but also realizes the depths of his fanaticism. Her independence, in thought and action, and her kindly courage carries the first act of the film. That bravery supports Elsa’s sheltering, a young Jewish girl hiding in the attic of Jojo’s home. The young boy discovers her one day and spends much of the second act questioning her. He’s heard many theories detailing how dangerous and vile Jewish people supposedly are, yet now he’s confronted with a real person. Waititi bases many of Jojo’s questions to her on actual Nazi propangada, such as prodding if she hangs from ceilings.

While Roman Griffin Davis offers a tremendous performance as the psychologically lost but lonely boy, Thomasin McKenzie as Elsa is just as spectacular. The film’s firmest grounding sits with its women characters, like the affectionate but valiant Rosei. Elsa serves as another brilliant example. In one scene, Jojo brags about his Aryian blood making him the superior master race, to which Elsa sharply defenses by cupping his mouth and pinning him. She asks who’s the stronger, in a sure handed test of will. McKenzie, after her head-turning performance in Debra Granik’s spectacular Leave No Trace delivers another immaculate reason to believe she’s fated for stardom.

Waititi also furnishes Jojo Rabbit with a number of intriguing supporting characters like Finkel (Alfie Allen), the assistant to the Youth Commander Captain Klenzendorf (Sam Rockwell, returning for your racist pleasures). The two possess an intriguing relationship that Waititi delicately develops, yet seems a scene short to fully flush out. Still, Rockwell covers any shortcomings with his usual top-tier work. Rebel Wilson as Fraulein Rahm finds herself with less to do than her cameo moments would seem to command, while Stephen Merchant as a gestapo officer quietly terrorizes in one of the more suspenseful instances of the comedy. However, Archie Yates as Yorki: Jojo’s jolly and enthusiastic best friend—charms in every second he’s on the screen.

Still, Jojo Rabbit is at its strongest when it serves as a Moonrise Kingdom flick—following Jojo and Elsa from their meeting to the waning days of the war. Their burgeoning relationship, and the young boy’s introspection of his anti-simentic thoughts in the face of a person he comes to care for marks a trying emotional punch, especially as the film peaks in an outrageous but deftly executed battle scene. Waititi easily balances grim and heavy material to make a lighter than thought comedy, even if his Hitler doesn’t add much to the equation other than a couple punchlines. Jojo Rabbit is deeply flawed, the narrative sags too often through its 108 minutes, but in its final forty-five Waititi discovers a deeply endearing relationship that makes the whole journey worth it.

A common Latin American folktale, La Llorona (The Weeping Woman) describes a woman who drowned her children only for her ghost to wander the earth looking for their bodies and bringing despair to anyone near her. That folklore is repurposed toward political ends in Jayro Bustamante’s somber but haunting picture detailing the genocide of indigenous people in his native Guatemala, La Llorona.

His film centers Don Enrique (Julio Diaz) a former general now on trial for genocide and rape while hunting for guerrilla forces. Enrique occupies a lavish mansion with his wife Carmen (Margarita Kenéfic), daughter Natalia (Sabrina De La Hoz), and granddaughter Sara (Ayla-Elea Hurtado). The Spanish-language picture watches as the superstitious and fearful indigenous servants flee from Enrique and his family. The only one who remains is Valeriana (María Telón). That is, until the mysterious Alma (María Mercedes Coroy) appears on their doorstep to help around the home.

Bustamante’s La Llorona has real-world roots, grounding itself in the historical events of the Silent Holocaust of Mayan civilians in Guatemala during the early 90’s. Those events, like any instance of genocide, predicated itself upon the normalizing of violence and disappearance, the willful ignorance to the ends of survival by the populace, and the moral compartmentalizing of brutal leaders. Enrique’s family fall to the same trappings. There’s Natalie, whose leftist husband recently disappeared yet she shows little urge to find the truth. Carmen, Enrique’s wife, also relies on self-perpetuated lies; claiming the women accusing her husband of rape are whores. Still, no matter what repression they devolve into the ghosts of the slain still surround them.

La Llorona culminates with the visceral haunting and reckoning brought on by these ghosts, which in turn, actualizes the legacy left behind. And while Carmen exasperatedly exclaims that the country needs to move on, Bustamante thoughtfully takes the phantasmagorical to inform the myriad of ways we shouldn’t just forget, for fear of letting down the victims who came before.

  from 812filmReviews https://ift.tt/368cigU via IFTTT

from WordPress https://ift.tt/32TyidK via IFTTT

Netflix's The Spy Full Trailer | Screen Rant

Comedian Sacha Baron Cohen is getting dramatic in the full trailer for the upcoming Netflix series The Spy. The series is a major shift for Cohen, who was last seen on television pranking right-wing politicians and more in Showtime’s Who Is America?, which showcased the actor’s chameleonic gifts and ability to never break character. Though he’s most well known for that brand of comedy, including films such as Borat and Bruno, Cohen has drifted into more dramatic territory before, particularly in Tom Hooper’s Les Misérables and Martin Scorsese’s Hugo. 

While it’s not unusual for Cohen to play things on the more dramatic side, The Spy puts the funnyman front and center in a twisty espionage story based on real-life account of Mossad agent Eli Cohen. The series hails from Gideon Raff, who recently directed the Chris Evans Netflix film The Red Sea Diving Resort and helped usher in Showtime’s Emmy-winning Homeland, which was adapted from his series Prisoners of War. As such, it seems as though Raff is operating in familiar territory, and he’s decided to bring Cohen along for the ride.  

More:  On Becoming A God In Central Florida Review: The American Dream As Darkly Comic Nightmare

From what’s seen in the full trailer, it would seem as though Raff made the right choice teaming with the guy who played Borat. Cohen slips easily into the dual role of Eli Cohen and his fictional counterpart he creates in service of his country. And while the series is filled with many elements familiar to the espionage format, the central conflict of The Spy appears to be Eli’s struggles to maintain both aspects of his life. Check out the full trailer for The Spy, along with its poster and brief synopsis below:

“THE SPY is inspired by the real-life story of former Mossad agent, Eli Cohen, who successfully goes undercover in Syria in the early 1960s. Cohen becomes close enough to ambitious military leaders and their rich friends to earn a game-changing level of trust about Syria’s biggest anti-Israel secret initiatives.”

Raff has quite a record when it comes to delivering buzzy dramatic content, and this looks to be in keeping with his past work. The real draw here, though, will be seeing Cohen as the lead in a heavy dramatic role, one that finds him opposite Noah Emmerich, a guy who knows a thing or two about espionage on TV after six seasons on FX’s The Americans. If nothing else, though, The Spy may prove to be an interesting glimpse into the next phase of Cohen’s career. 

Next: Carnival Row Review: Amazon’s Victorian Fantasy Wants To Be Your Next Genre Obsession

The Spy will stream exclusively on Netflix beginning Friday, September 6.

source https://screenrant.com/the-spy-full-trailer-sacha-baron-cohen-dramatic-netflix-series/

Frank Ocean's Surprising Slide Back to Pop

His team-up with Calvin Harris and Migos on "Slide" scrambles some expectations, but mostly just sounds like summer.

“Frank Ocean appears courtesy of Frank Ocean,” reads the liner notes to Calvin Harris’s new single “Slide,” which in this unseasonably warm late February has kicked off the 2017 song-of-the-summer battle. Most artists only ever appear anywhere courtesy of their record label, but Ocean is a free agent and this song is another surprise move in his ongoing rewriting of pop stardom.

Last summer, the buzzy R&B singer broke years of unexplained silence with a duo of albums, Endless and Blond(e), that defied conventions both musically and business-wise. The latter of the two releases—the one that was actually for sale and had distinguishable songs, in contrast to the free-form streaming audiovisual project Endless—arrived not via his record company, Def Jam, but independently. Through years of wrangling (and the help of Apple, the new corporate patron of label-agnostic pop artists), he had freed himself of the kind of contract that once was considered both prize and necessity for new singers.

It seemed possible he’d then use this newfound liberty to burrow deeper into an anti-commercial, anti-pop mindset. Blond(e) is a masterpiece, but a weird one: mostly free of drums, recognizable song structures, and anything that could be a hit. It took him four years to make, had two competing spellings for its name, and featured a tie-in print magazine. You can understand why its creator might not want to have to run all of his material past Universal Music Group’s A&R. And you might guess that future Ocean projects would become even more esoteric.

But today brings the mostly good news that Ocean has not entirely decided to withhold his talents—a voice that imparts both feeling and attitude, an adventuresome ear, a smart and funny lyrical sensibility—from the radio race. He’s paired up with Calvin Harris, the Scottish EDM star famous for unsubtle but irresistible Top 40 fare like “This Is What You Came For” (his 2016 summer smash, featuring Rihanna) and “We Found Love” (his 2011 summer smash, featuring, again, Rihanna). Rounding out the bill are two-thirds of Migos, the Atlanta rap group enjoying breakthrough national success in 2017 with the tricky-fun album Culture and the No. 1 hit “Bad & Boujee.”

Harris’s knack for consolidating popular trends and nudging them ever-so-slightly forward is on display here, with the beat for “Slide” sucking in Bruno Mars’s recent revivalist funk and Justin Bieber’s airy tropical house for a blend that will only reveal its full potential when heard on the beach. One of Ocean’s latter-day signatures, a squeaky manipulated voice, opens the track with the couplet “I might empty my bank account / And buy that boy a wooden pipe.” I won’t pretend to know exactly what the wooden pipe is supposed to mean here. But the sentiment comes across, to these ears, as a boy hitting on a boy.

Which is not insignificant in 2017 pop, especially in light of recent comments by Migos: Asked about the rapper Makonnen who’d just come out as gay, they said it seemed “fucked up” and “wack” that he’d previously put on a tough, streetwise persona. The group later gave an apology that said they were fine with gays but that didn’t quite address the stereotypes they’d seemed to endorse. In any case, they are now on a track with Frank Ocean, who shook hip-hop with a 2012 admission of an affair with a man—and who has since scrambled all sorts of expectations about culture, machismo, and sex.

Migos themselves sound great, the stickiness of their distinctive flows suddenly plainer than ever over such a sturdy and sunny beat. Ocean’s verses seem to cryptically, wearily talk about the moment at the end of a night in the club when the lights come up and you see who you might take home; Migos’s lyrics are explicit boasts of wining and dining and heterosexual screwing around the world. The divides between Ocean, Migos, and Harris’s sensibilities couldn’t be clearer, but the song is a reminder of pop’s power to make very different elements slide together.

-The Atlantic, 2/24/17

Genre: Drama

Language: Italian (Eng-Sub)

IMDb Ratings: 5.1/10

Quality: WEBRip

Movie Size: 720p (938MB), 1080p (1.88GB) (5.1)

Director: Carlo Sironi

Movie Cast: Bruno Buzzi, Sandra Drzymalska, Marco Felli

Download Here -      

Sypnosis: Lena is seven months pregnant and she's ready to sell the baby in her belly. Ermanno agrees to pretend to be the father. Fabio, the uncle of Ermanno, will pay them to buy the child that he and his wife Bianca cannot have. A fake adoption between relatives, a loophole to bypass the law cause in Italy the surrogate motherhood is forbidden. A world in which money is the only standard of value, the only thing that matter. Ermanno and Lena are two strangers that must pretend in public to be a couple and live together until the delivery. They are used to only think about themselves and they fight all the time. But living side by side they start becoming what they were only pretending to be.

Note - Report Dead Or Broken Link With URL 'HERE' (Links Will ReUp Soon) Watch Trailer

Screenshot