- Italian Horror Film Director Guest of Honor at RIFF
- Mario Bava: The Baroque Beauties of Italian Horror
- 10 great Italian gothic horror films
- Lucio Fulci
I am lucky and they say yes. Can you remember the impact Suspiria had on you as a child? Because I realised that everything was possible with this movie. So it was a very important intellectual exercise and an emotional experience. I think I was hyperventilating, probably. Suspiria is part of Italian horror genre Giallo.
If you think of a movie like Cat People by Jacques Tourneur  or even Cat People by Paul Schrader , you can see, in these two films, the interrogation of human nature and the most basic animal instincts that lead to violence explored in totally different perspectives by the language of film. I mean, it is a remake.
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But I wish for people to look at this with open minds and open hearts and open brains and open guts. Just to soak into this movie in a way where there is openness that is not pre-judged, not judgemental. It is very personal and it reflects my feelings I had watching Suspiria. There are some great films that are remakes. The Fly [, from a film]. I like the idea of a reflection of something that repeats. Film has always been like that and we always look at things and base new things on what we see.
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It was such a big hit, though. I mean: good. You know? What should I say? And yes, Call Me by Your Name was a fantastic success, a great box-office success. So I think that the real measure of accomplishment lies in the way in which someone can be affected by your work. But to talk about the actual success of it like something that can be counted into a box?
I mean… cool. People are surprised you plan four more films with the Call Me by Your Name characters. It appeared to be a standalone story.
Italian Horror Film Director Guest of Honor at RIFF
Because they are thinking in the wrong way. Because people think that my idea is to make a sequel. But that is not correct. My idea is to chronicle the lives of the characters of this movie so that eventually, if we have enough of these stories, we can say that this is a chronicle, not a sequel. By eight he was shooting his own films using a Super 8 camera. His mother was Algerian, his father Sicilian, and though he was born in Palermo, he grew up in Ethiopia, where his father taught history and Italian. As a teenager, he was lonely — his Italian classmates teased him for looking different, using ethnic slurs — but driven.
It got booed. He studied literature at the University of Palermo, and graduated from Sapienza University of Rome in the faculty of history and cinema with a thesis on the director Jonathan Demme, who remains a hero.
Mario Bava: The Baroque Beauties of Italian Horror
For a time he became a film critic, contributing to newspapers. Already a terrific cook — along with horticulture, food is another Guadagnino passion — Betti would deploy him at dinner parties cutting fresh fettuccine for the painter Valerio Adami and the director Bernardo Bertolucci. She was already a star, he was 11 years her junior. But somehow he convinced her and for a few days she moved into his flat. Though they never finished the Burroughs film he ran out of money , they resolved to become partners in crime.
By , he had decided to go completely independent, raising money himself. His breakthrough came with I Am Love , which he and Swinton had spent 12 years developing. The location of that film, Villa Necchi Campiglio in Milan, was as much the star as she was, built in as a home and status symbol for upper-class industrialists by Piero Portaluppi, the Italian modernist architect of choice to society in the Twenties and Thirties.
10 great Italian gothic horror films
For the wealthy men of the movie, of which there are many, Fendi created a wardrobe of dark, double-breasted suits. This time, her wardrobe inspired a shopping feature on vogue. This mix of the intimate connection and the wider social whirl is a feat to pull off, and probably his particular superpower. In combination with his wide and impassioned knowledge of world cinema, his scrupulous attention to cinematic detail and atmosphere, his boldness, his willingness to be a joyous creative partner and the fact he has been such a brother-in-arms for me for over 20 years, Luca is a unique playmate in what I think of as the kindergarten of my working life.
For Call Me by Your Name , Guadagnino filmed with one lens to give the love story a deliberate intimacy. The setting is Villa Albergoni, a 16th-century mansion in Lombardy, somewhere it took his team weeks to decorate. Elio is a music prodigy who transcribes Schoenberg by ear. At the Oscars he wore Prada, though he was torn between that and his other favourite, Armani. He had been advising Marchetti on renovations to his holiday home on the shores of Lake Como. You got into movies very early, heavily so.
I am very shy when it comes to intellectualising something. I can tell you that watching films, thinking of films, thinking from the perspective of cinema, that was, in a way, the oxygen that kept me alive. Pasolini, Fellini and Rossellini made incredibly beautiful films. Do you see yourself as part of that tradition?
I think nostalgia is not a good thing. You should not think of things in a nostalgic way. You were introduced to Bertolucci while you were doing a degree in the history of cinema.
That must have been quite a moment. In that golden age of cinema, film-makers and fashion designers often collaborated on incredible wardrobes for movies. Contin-uously you have collaborations to create things. Sergio Zambon. I constantly collaborate with designers. I am who I am, while I am. The fashion world loves you. Why is that? You should ask them. You have founded Frenesy: it makes films for fashion houses. Interior design is another way for you to express your love of aesthetics.
Interior design for me comes from the relationship between the space and the people that live in that space. It has nothing to do with aesthetics. I actually despise the approach that is aesthetics to interior design. But it involves choosing materials, colours and furniture, as we can see around us.