Facing Windows is a 2003 Italian movie directed by Ferzan Özpetek. Giovanna and her husband Filippo have settled into life, they both have jobs. She works in an poultry factory, he works the graveyard shift. They argue about money, sex and work... There is a subtle sense that this is a marriage whose love is dwindling fast, that they are only going through the motions for the sake of their children. One morning, the two of them are walking cross paths with an elderly man, he is suffering from transient global amnesia, remembering nothing about himself and his current situation, although recalling random episodes from his remote past. And despite Giovanna's protests, Filippo brings him back to their home for the night so that he can take him to the police the next morning in the hopes of unraveling the mystery; as complications ensue, that one night stretches to a few days. The old man experiences strange episodes, flashbacks of sorts, that reveal clues to his mysterious past, his actions lead to a meeting between Lorenzo.
Lorenzo lives across the street from Giovanna and their apartment windows face each other. The sexual tension between the two is quite palpable as they have both been secretly watching and lusting after each other from their dimly lit windows. Giovanna and Lorenzo's instant friendship swiftly moves to flirtation and to a passionate kiss. However, Lorenzo's job is transferring him to another city soon and Giovanna is put in an awkward spot having to make a quick decision, her heart tells her she should act on her feelings. Her mind tells her to be responsible; the two of them puzzle over the mystery of the old man as they try to come to terms with their feelings for one another. The only thing the old man seems to remember is the name Simone, so Giovanna and her family take to calling him this. Giovanna takes Simone's suit to be cleaned and discovers a love letter in the jacket pocket addressed to him from a certain Davide Veroli; the next morning, Simone disappears, so Giovanna sets out to trace Davide Veroli as a means of identifying Simone and at this point of tracing him.
A meeting is arranged between them. When Giovanna comes face to face with the old Davide Veroli, it turns out he is the old man they called Simone. Simone, in fact, had been the man Davide had loved when he was young. Davide heard the Nazis were going to kill all Jews in Rome and killed his boss in order to escape and to alert as many people as possible. However, Davide was in a crossroad: he had to choose between telling the others – his neighbors, those who had laughed at him for being homosexual – or looking for Simone first instead, he chose to save the others in the first place to prove that he deserved their respect and saved many people and children. He was given many honors after this. After remembering who he was, he had gone back home, although without mentioning anything to the family that had given him a roof the previous days. Nonetheless, they became good friends. Davide helped her make some big decisions in her life, like pursuing her dream to work in a bakery and having the strength to fight for her marriage and her children.
Giovanna Mezzogiorno as Giovanna Massimo Girotti as Simone / Davide Veroli Raoul Bova as Lorenzo Filippo Nigro as Filippo Serra Yilmaz as Eminè Maria Grazia Bon as Sara Massimo Poggio as Young Davide Ivan Bacchi as SimoneOthers. In 2004, Kevin Lally of Film Journal International said of that it "is a fine showcase for a rising star of Italian cinema, Giovanna Mezzogiorno and a final salute to an Italian veteran, Massimo Girotti", he stated the film has a "puzzle-like narrative, is involving" and director Ferzan Ozpetek's screenplay will gain him a "wider art-house following". Won 4 David di Donatello Awards: Won 3 Nastro d'Argento Prizes: Won the Crystal Globe and the Best Director Award for Ferzan Özpetek at the 38th Karlovy Vary International Film Festival. Won the Golden Space Needle Award at the Seattle International Film Festival Official site at the Wayback Machine Facing Windows on IMDb - Movie's Locations on google earth
White Bim Black Ear
White Bim Black Ear is a 1977 Soviet drama film directed by Stanislav Rostotsky. It is based upon the book of the same name, written by Gavriil Troyepolsky and is about a white Scottish Setter with a black ear who becomes homeless because of his master's illness; the film was nominated for the Academy Award for Best Foreign Language Film at the 51st Academy Awards. Ivan Ivanovich, an older man, fond of reading and nature, buys a puppy despite the dog's improper coloration and black ear, which are considered faults in terms of its breed standard; the man names his dog Bim, takes him in the country to enable the dog to track birds, as is his nature. Ivan Ivanovich begins to develop heart problems, when the disease becomes worse, is taken to a hospital, his dog cannot bear waiting for the only person that cared for him, sets out to find his master. Thus begins the story of a stray dog and his adventures and encounters with many people, both kind and cruel, he is unable to find a permanent home. His owner returns home only to discover that Bim died.
Vyacheslav Tikhonov as Ivan Ivanovich Vasya Vorob'ev as Tolik Irina Shevchuk as Dasha Valentina Vladimirova as Sneaky Woman Andrey Martynov as driver Anya Rybnikova as Lyusya Yuri Grigor'ev as police officer Two English setters as Bim Hachikō List of submissions to the 51st Academy Awards for Best Foreign Language Film List of Soviet submissions for the Academy Award for Best Foreign Language Film White Bim Black Ear at AllMovie White Bim Black Ear on IMDb White Bim the Black Ear
Hibiscus Town is a 1986 Chinese film directed by Xie Jin, based on a novel by the same name written by Gu Hua. The film, a melodrama, follows the life and travails of a young woman who lives through the turmoil of the Cultural Revolution and as such is an example of the "scar drama" genre that emerged in the 1980s and 1990s that detailed life during that period; the film was produced by the Shanghai Film Studio. The film won Best Film for 1987 Golden Rooster Awards and Hundred Flowers Awards, as well as Best Actress awards for Liu Xiaoqing at both ceremonies, it was selected as the Chinese entry for the Best Foreign Language Film at the 60th Academy Awards, but was not accepted as a nominee. The village in Hunan province where the film was made, was known as Wang Village. In 2007, the village was renamed Furong zhen owing to this film. Liu Xiaoqing as Hu Yuyin, the film's heroine, a young woman, caught up in the political turmoil of China's Cultural Revolution, she sells rice beancurd with her husband.
Liu Linian as Li Guigui, Yuyin's first husband Jiang Wen as Qin Shutian, a "bourgeoisie" rightist who falls in love with Yuyin Zheng Zaishi as Gu Yanshan, the granary director Zhu Shibin as Wang Qiushe Xu Songzi as Li Guoxiang Zhang Guangbei as Li Mangeng The film follows Hu Yuyin, a young and hardworking woman in a small Chinese town on the eve of the Cultural Revolution. She is married and runs a successful roadside food stall selling spicy beancurd. Yuyin is supported by Party members Li Mangeng, who once wanted to marry her, Director Gu, a war veteran in charge of the granary, but in 1964 the Four Cleanups Movement sends a Party work-team to root out Rightists and capitalist roaders. The team is led by Li Guoxiang, a single woman, assisted by Wang Qiushe, a former poor peasant who has lost his land because of his drinking. At a public struggle session, Yuyin is declared to be a "new rich peasant." Both her home and business are taken from her and her husband, Li Guigui is executed for trying to kill Li Guoxiang.
After the first waves of the Revolution have ended, now relegated to a lowly street sweeper, returns to the town. She falls in love with Qin Shutian, who had come in the 1950s to collect local folksongs but was declared to be one of the Five Black Categories; when Yuyin becomes pregnant, this loving relationship attracts the outrage of Li Guoxiang and Wang Qiushe, who themselves are having a secret affair. Shutian is sent to reform through labor and it is not until Deng Xiaoping's reforms in 1978 that his case is reviewed and he is allowed to return and help Yuyin re-establish their food stall. At the end of the film, Li Guoxiang continues to hold a position in the bureaucracy while Wang Qiushe loses his mind; the film was well received domestically and was voted by Chinese film audiences as one of the three best films of 1987. It remains however quite obscure outside China. Gilbert Adair of Time Out magazine gave the film his endorsement, calling it "a potent blend of the political and personal": "Xie's portrait of China's traumatic, turbulent history ranges from'63 to the post-'Gang of Four' years, his palette the changing fortunes of an entangled group of individuals.
It's impressive both for the elegant precision with which the director fills his scope frame with small, significant details, for the discreet understatement that controls his own special brand of epic melodrama. In some ways similar to the classic romances of Frank Borzage, Hibiscus Town is a moving account of survival in the face of widespread social and political madness, told with clarity and insight." Golden Rooster Awards, 1987 Best Film Best Actress — Liu Xiaoqing Best Supporting Actress — Xu Songzi Best Art Direction— Jin Qifen Hundred Flowers Awards, 1987 Best Film — tied with Dr. Sun Yat-sen and Xue zhan Taierzhuang Best Actor — Jiang Wen Best Actress — Liu Xiaoqing Best Supporting Actor — Zhu Shibin Karlovy Vary International Film Festival, 1988 Crystal Globe, Grand Prix Cultural Revolution - background of the film List of submissions to the 60th Academy Awards for Best Foreign Language Film List of Chinese submissions for the Academy Award for Best Foreign Language Film Browne, Nick.
"Society and Subjectivity: On the Political Economy of Chinese Melodrama," in New Chinese Cinemas: Forms, Politics. Cambridge: CUP, 1994, 57-87. Hayford, Charles W. "Hibiscus Town: Revolution and Bean Curd." In Chris Berry, ed. Chinese Films in Focus: 25 New Takes. London: BFI Publishing, 2003, 120-27. Kipnis, Andrew. "Anti-Maoist Gender: Hibiscus Town's Naturalization of a Dengist Sex/Gender/Kinship System." Asian Cinema 8, 2: 66-75. Hibiscus Town on IMDb Hibiscus Town at AllMovie Hibiscus Town article from China.org Hibiscus Town from the Chinese Movie Database Overview and questions of Hibiscus Town from Ohio State University
Variety is a weekly American entertainment trade magazine and website owned by Penske Media Corporation. It was founded by Sime Silverman in New York in 1905 as a weekly newspaper reporting on theater and vaudeville. In 1933 it added Daily Variety, based in Los Angeles. Variety.com features breaking entertainment news, box office results, cover stories, photo galleries and more, plus a credits database, production charts and calendar, with archive content dating back to 1905. Variety has been published since December 16, 1905, when it was launched by Sime Silverman as a weekly periodical covering theater and vaudeville with its headquarters in New York City. Sime was fired by The Morning Telegraph in 1905 for panning an act which had taken out an advert for $50, said that it looked like he would have to start his own paper in order to be able to tell the truth. With a loan of $1,500 from his father-in-law, he launched Variety as editor. In addition to Sime's former employer The Morning Telegraph, other major competitors on launch were The New York Clipper and the New York Dramatic Mirror.
The original cover design, similar to the current design, was sketched by Edgar M. Miller, a scenic painter, who refused payment; the front cover contained pictures of the original editorial staff, who were Alfred Greason, Epes W Sargeant and Joshua Lowe, as well as Sime. The first issue contained a review by Sime's son Sidne known as Skigie, claimed to be the youngest critic in the world at seven years old. In 1922, Sime acquired The New York Clipper, reporting on the stage and other entertainment since 1853 and folded it two years merging some of its features into Variety. In 1922, Sime launched the Times Square Daily, which he referred to as "the world's worst daily" and soon scrapped. During that period, Variety staffers worked on all three papers. After the launch of The Hollywood Reporter in 1930, which Variety sued for alleged plagiarism in 1932, Sime launched Daily Variety in 1933, based in Hollywood, with Arthur Ungar as the editor, it replaced Variety Bulletin, issued in Hollywood on Fridays.
Daily Variety was published every day other than Sunday but on Monday to Friday. Ungar was editor until 1950, followed by Joe Schoenfeld and Thomas M. Pryor, succeeded by his son Pete; the Daily and the Weekly were run as independent newspapers, with the Daily concentrating on Hollywood news and the Weekly on U. S. and International coverage. Sime Silverman had passed on the editorship of the Weekly Variety to Abel Green as his replacement in 1931. Green remained as editor from 1931 until his death in 1973. Sime's son Sidne succeeded him as publisher of both publications. Following his death from tuberculosis in 1950, his only son Syd Silverman, was the sole heir to what was Variety Inc. Young Syd's legal guardian Harold Erichs oversaw Variety Inc. until 1956. After that date Syd Silverman managed the company as publisher of both the Weekly Variety in New York and the Daily Variety in Hollywood, until the sale of both papers in 1987 to Cahners Publishing for $64 million, he remained as publisher until 1990 when he was succeeded on Weekly Variety by Gerard A. Byrne and on Daily Variety by Sime's great grandson, Michael Silverman.
Syd became chairman of both publications. In 1953, Army Archerd's "Just for Variety" column appeared on page two of Daily Variety and swiftly became popular in Hollywood. Archerd broke countless exclusive stories, reporting from film sets, announcing pending deals, giving news of star-related hospitalizations and births; the column appeared daily for 52 years until September 1, 2005. On December 7, 1988, the editor, Roger Watkins and oversaw the transition to four-color print. Upon its launch, the new-look Variety measured one inch shorter with a washed-out color on the front; the old front-page box advertisement was replaced by a strip advertisement, along with the first photos published in Variety since Sime gave up using them in the old format in 1920: they depicted Sime and Syd. For twenty years from 1989 its editor-in-chief was Peter Bart only of the weekly New York edition, with Michael Silverman running the Daily in Hollywood. Bart had worked at Paramount Pictures and The New York Times.
In April 2009, Bart moved to the position of "vice president and editorial director", characterized online as "Boffo No More: Bart Up and Out at Variety". From mid 2009 to 2013, Timothy M. Gray oversaw the publication as Editor-in-Chief, after over 30 years of various reporter and editor positions in the newsroom. In October 2012, Reed Business Information, the periodical's owner, sold the publication to Penske Media Corporation. PMC is the owner of Deadline Hollywood, which since the 2007–2008 Writers Guild of America strike has been considered Variety's largest competitor in online showbiz news. In October 2012, Jay Penske, Chairman and CEO of PMC, announced that the website's paywall would come down, the print publication would stay, he would invest more into Variety's digital platform in a townhall. In March 2013, Variety owner Jay Penske appointed three co-editors to oversee different parts of the publication's industry coverage; the decision was made to stop printing Daily Variety with the last printed edition published on March 19, 2013 with the headline "Variety A
Capricious Summer is a 1968 Czechoslovak comedy film directed by Jiří Menzel. It is based on the novel Rozmarné léto by the Czech writer Vladislav Vančura, it was listed to compete at the 1968 Cannes Film Festival, but the festival was cancelled due to the events of May 1968 in France. The film depicts a humorous story of three men, a colonel, a priest and a bath-keeper, during rainy summer days. Rudolf Hrušínský as Antonín Dura Vlastimil Brodský as Major Hugo František Řehák as priest / abbé / canon Roch Míla Myslíková as Kateřina Durová Jana Preissová as Anna Jiří Menzel as Arnoštek Bohuš Záhorský as old man Vlasta Jelínková as housemaid Alois Vachek as man in a pub Bohumil Koska as man in a pub Karel Hovorka as man in a pub Antonín Pražák as policeman Pavel Bosek as Mayor Capricious Summer on IMDb Koresky, Michael. "Criterion Collection Essay". Retrieved 27 April 2012
Restoration (2011 film)
Restoration is a 2011 Israeli film directed by Yossi Madmoni. The Hebrew title is בוקר טוב אדון פידלמן; the film concerns a small furniture-restoration business in downtown Tel Malamud & Fidelman. As the film begins, one of the partners has died, bequeathed his share in the business not to his longtime partner Yaakov Fidelman, but to Yaakov's son Noah Fidelman; the aging Yaakov is a skilled craftsman, who keeps exacting standards. However, he has little sense for financial issues, which had always been taken care of by his dead partner; the business is going down, demand for Yaakov's services is falling off and banks refuse to give him loans. Noah, who had refused to follow in his father's footsteps and became a successful lawyer, is pressing Yaakov to retire and sell off the workshop – which could bring a lucrative profit as the area is undergoing a real-estate boom. Yaakov is on the verge of reluctantly giving in when a mysterious young man named Anton gets a job in the workshop, becomes Yaakov's apprentice, exhibiting considerable aptitude for and skill in the work.
Little is revealed of Anton's antecedents. Anton comes up with a way of saving the failing business, or at least giving it a breathing spell: a broken down 19th Century German Steinway piano, which Anton discovered among old junk in the workshop, can be repaired and sold for a considerable sum. Anton –, a gifted pianist – throws himself into the repair job, so determined to succeed that he resorts to stealing people's wallets in the street to gain money needed to buy materials. In effect, he stakes a claim to being Yaakov Fidelman's true son and heir, the one who continues the old man's lifework which his biological son had cast aside; as work on the piano progresses, the frustrated Noah steals into the workshop, but cannot bring himself to smash the piano. The stakes in this rivalry are raised higher when Anton starts an affair with Noah's wife, Hava – a sensitive and artistic young woman, neglected by her busy husband, and, pregnant with Noah's child, Yaakov's grandchild, it is Yaakov Fidelman who must make the crucial choice between Anton's piano project and Noah's real-estate deal – and in effect, which of them does he recognize as his true son.
At the 2011 Jerusalem Film Festival, Restoration won the Haggiag Family Award for Best Full-Length Feature Film. At the 46th Karlovy Vary International Film Festival, the film won the 2011 Crystal Globe, the top award of the festival. At the Sundance Film Festival, writer Erez Kav-El won the World Cinema Screenwriting Award for Restoration. In Israel, Restoration received 11 nominations for the Ophir Awards. Toronto International Film Festival Vancouver International Film Festival Restoration on IMDb