Exclusive: Second edition of event hosted with Greece’s Faliro House will support filmmakers from the region.
The participants for the second edition of the Faliro House Sundance Institute Mediterranean Screenwriters Workshop have been revealed.
The workshop, a collaboration between the Sundance Institute and Christos V Konstantakopoulos’ Greek production company Faliro House, supports emerging filmmakers from Greece, Spain, Italy, Portugal and Cyprus (last year’s event is pictured above).
The five-day workshop, held in Costa Navarino, Greece from July 3-9, gives eight filmmakers the chance to work on their feature film scripts with advisors.
The advisors include filmmaker Gyula Gazdag, artistic director for the Sundance Institute in the Us, Lisa Cholodenko (Olive Kitteridge, The Kids Are Alright), Julie Delpy (Before Midnight, 2 Days In Paris), Jeff Nichols (Loving, Take Shelter), recent Palme d’Or winner Ruben Östlund (The Square, Force Majeure), Ira Sachs (Little Men, Love Is Strange), Zach Sklar (JFK), Eva Stefani (Bathers, Acropolis) and Athina Rachel Tsangari...
The participants for the second edition of the Faliro House Sundance Institute Mediterranean Screenwriters Workshop have been revealed.
The workshop, a collaboration between the Sundance Institute and Christos V Konstantakopoulos’ Greek production company Faliro House, supports emerging filmmakers from Greece, Spain, Italy, Portugal and Cyprus (last year’s event is pictured above).
The five-day workshop, held in Costa Navarino, Greece from July 3-9, gives eight filmmakers the chance to work on their feature film scripts with advisors.
The advisors include filmmaker Gyula Gazdag, artistic director for the Sundance Institute in the Us, Lisa Cholodenko (Olive Kitteridge, The Kids Are Alright), Julie Delpy (Before Midnight, 2 Days In Paris), Jeff Nichols (Loving, Take Shelter), recent Palme d’Or winner Ruben Östlund (The Square, Force Majeure), Ira Sachs (Little Men, Love Is Strange), Zach Sklar (JFK), Eva Stefani (Bathers, Acropolis) and Athina Rachel Tsangari...
- 6/29/2017
- by orlando.parfitt@screendaily.com (Orlando Parfitt)
- ScreenDaily
“Gomorrah” is returning to SundanceTV this April for a 12-episode second season. A new trailer for season 2 of Italy’s most popular crime drama teases new car chases, explosions, killings and lots of gunfire.
Read More: ‘American Gods’ Trailer: Neil Gaiman’s Best-Seller Comes to the Small Screen — Watch
Season 2 picks up moments after the end of the first season: Don Pietro Savastano (Fortunato Cerlino) has escaped from the prison van. Genny’s boys have been killed by rival Conte, and Ciro di Marzio (Marco D’Amore) has shot Genny (Salvatore Esposito). The new season sees Ciro, Genny and Savastano fighting (and killing) for absolute domination over organized crime in the Italian city of Naples.
“Gomorrah” is based on Roberto Saviano’s 2006 non-fiction bestseller of the same name. The book was adapted for the big screen and won the Grand Prix prize at the 2008 Cannes Film Festival.
Read More: ‘The...
Read More: ‘American Gods’ Trailer: Neil Gaiman’s Best-Seller Comes to the Small Screen — Watch
Season 2 picks up moments after the end of the first season: Don Pietro Savastano (Fortunato Cerlino) has escaped from the prison van. Genny’s boys have been killed by rival Conte, and Ciro di Marzio (Marco D’Amore) has shot Genny (Salvatore Esposito). The new season sees Ciro, Genny and Savastano fighting (and killing) for absolute domination over organized crime in the Italian city of Naples.
“Gomorrah” is based on Roberto Saviano’s 2006 non-fiction bestseller of the same name. The book was adapted for the big screen and won the Grand Prix prize at the 2008 Cannes Film Festival.
Read More: ‘The...
- 3/15/2017
- by Yoselin Acevedo
- Indiewire
Zoe Saldana is officially a mom of three!
The Star Trek Beyond star took to Instagram on Saturday to announce the arrival of her third child, a precious baby boy, with husband Marco Perego. His name? Zen!
Watch: Zoe Saldana Explains Why She Got a Tattoo of Her Husband's Face
Saldana revealed the exciting news with a sweet snap of the newborn lying on a blanket next to her and Perego's older sons, 2-year-old twins Cy and Bowie.
"Marco and I are elated to share the news of the birth of our son Zen," the 38-year-old actress captioned it. "We couldn't feel more blessed with the new addition to our family. #threeboys... oh boy!"
Et has reached out to Saldana's rep for comment.
Related: Zoe Saldana Shares Rare Look at Twins Bowie and Cy in Throwback Dubsmash Video
When Et caught up with Saldana in January at a junket for her new film, Live By Night, the Passaic...
The Star Trek Beyond star took to Instagram on Saturday to announce the arrival of her third child, a precious baby boy, with husband Marco Perego. His name? Zen!
Watch: Zoe Saldana Explains Why She Got a Tattoo of Her Husband's Face
Saldana revealed the exciting news with a sweet snap of the newborn lying on a blanket next to her and Perego's older sons, 2-year-old twins Cy and Bowie.
"Marco and I are elated to share the news of the birth of our son Zen," the 38-year-old actress captioned it. "We couldn't feel more blessed with the new addition to our family. #threeboys... oh boy!"
Et has reached out to Saldana's rep for comment.
Related: Zoe Saldana Shares Rare Look at Twins Bowie and Cy in Throwback Dubsmash Video
When Et caught up with Saldana in January at a junket for her new film, Live By Night, the Passaic...
- 2/18/2017
- Entertainment Tonight
It's a new year and SundanceTV has some new seasons in store. Today, the network announced the new seasons of Hap and Leonard and Gomorrah will debut this spring.Based on the books by Joe R. Lansdale, Hap and Leonard follows two best friends (James Purefoy and Michael Kenneth Williams) entangled in a murder case in 1980s East Texas. Set in the suburbs of Naples, Gomorrah tells the inside story of the Camorra, the fierce Neapolitan crime organization. The cast includes Marco D’Amore and Fortunato Cerlino.Read More…...
- 1/14/2017
- by TVSeriesFinale.com
- TVSeriesFinale.com
In this U.S. exclusive clip of Italy’s most popular crime drama, we see exactly what happens when mob rivalry turns personal. Set in Naples, “Gomorrah” focuses on the connection – and clash – between organized crime and ordinary citizens. The show has come out strong in its first few episodes with themes of rivalry, revenge, family, money, drugs, and betrayal.
Read More: ‘Gomorrah’ Review: Italian Drama is a Darker, Grown-Up Version of ‘The Sopranos’
The hugely popular show, which originally aired internationally in 2014, seems to be picking up speed in the U.S. During Part 3, Ciro (Marco d’Amore) takes a boat ride with Conte (Marco Palvetti) in an attempt to “make things right,” but there’s no going back when you mess with Conte’s family. When the outing goes south in a hurry, it looks like not everyone is guaranteed to make it back to shore.
The series...
Read More: ‘Gomorrah’ Review: Italian Drama is a Darker, Grown-Up Version of ‘The Sopranos’
The hugely popular show, which originally aired internationally in 2014, seems to be picking up speed in the U.S. During Part 3, Ciro (Marco d’Amore) takes a boat ride with Conte (Marco Palvetti) in an attempt to “make things right,” but there’s no going back when you mess with Conte’s family. When the outing goes south in a hurry, it looks like not everyone is guaranteed to make it back to shore.
The series...
- 9/7/2016
- by Alec Pike
- Indiewire
“Gomorrah,” an Italian crime series imported by SundanceTV after finding much success overseas, is largely set at night. That darkness may be the first — and possibly most significant — change that fans of the 2008 film notice.
Matteo Garrone’s original feature used light to boldly depict the violence overwhelming his home country. But the series from Leonardo Fasoli, Giovanni Bianconi, Stefano Bises, Ludovica Rampoldi and Roberto Saviano (yes, they’re all credited as creators) uses shadows to its advantage, providing stark contrast between the hidden lifestyle of a mafia family and the stark realities of its results.
It’s not the only change from the Cannes Grand Jury Prize winner, but the shift affects more than just the challenge of watching in daylight. The serialized take on “Gomorrah” — which has aired two seasons already in Italy, with two more on the way — feels like a much more straightforward crime story; one...
Matteo Garrone’s original feature used light to boldly depict the violence overwhelming his home country. But the series from Leonardo Fasoli, Giovanni Bianconi, Stefano Bises, Ludovica Rampoldi and Roberto Saviano (yes, they’re all credited as creators) uses shadows to its advantage, providing stark contrast between the hidden lifestyle of a mafia family and the stark realities of its results.
It’s not the only change from the Cannes Grand Jury Prize winner, but the shift affects more than just the challenge of watching in daylight. The serialized take on “Gomorrah” — which has aired two seasons already in Italy, with two more on the way — feels like a much more straightforward crime story; one...
- 8/24/2016
- by Ben Travers
- Indiewire
American pop culture is filled with stories of organized crime. From “The Godfather” to “The Sopranos,” many acclaimed films and TV shows have portrayed the inherent drama in mafia subculture. Now, American audiences have another compelling mob story to hold their interest, and this time it’s actually from Italy. The Italian crime drama “Gomorrah” follows Neapolitan organized crime and the complex interpersonal relationships between gangsters and ordinary citizens trying to live their lives. The series’ protagonist is Ciro (Marco D’Amore), or “The Immortal,” the right-hand man to feared crime boss Don Pietro Savastano (Fortunato Cerlino), who instigates a violent turf war between two rival factions. Watch an exclusive clip from the series below featuring Don Peitro accusing a subordinate of ratting him out to the cops.
Read More: Looking For the Next Great Mob Drama? It Might Be Italy’s ‘Gomorrah’
The series is based on Roberto Saviano...
Read More: Looking For the Next Great Mob Drama? It Might Be Italy’s ‘Gomorrah’
The series is based on Roberto Saviano...
- 8/24/2016
- by Vikram Murthi
- Indiewire
Almost since storytelling began, audiences have been enthralled by the dark side of human nature. In the world of modern entertainment, that fascination has often taken the shape of stories centering on organized crime and the criminal underworld in general. Film and television have been marked by several beloved takes on this particular subject matter, from The Godfather to The Sopranos. So some may wonder if there’s really any new ground to break with regards to mafia-set tales of honor, retaliation and family. Gomorrah proves that there is still dramatic potential in the world of organized crime as well as an opportunity to bring something surprisingly fresh to viewers.
Based on the book by Roberto Saviano, the Italian TV series debuted in 2014 to critical acclaim and quickly drew comparisons to American dramas like The Wire that take a similarly street-level look at crime and the society that supports it in many ways.
Based on the book by Roberto Saviano, the Italian TV series debuted in 2014 to critical acclaim and quickly drew comparisons to American dramas like The Wire that take a similarly street-level look at crime and the society that supports it in many ways.
- 8/20/2016
- by Robert Yaniz Jr.
- We Got This Covered
★★★★☆ Reality (2012), the new film from Palme d'Or-winning director Matteo Garrone, starts with the most flagrant unreality. Taking his cue from Fellini, Garrone and cinematographer Marco Onorato establish the irony of the title with an opening shot that descends from the heavens, as a golden coach drawn by plumed white horses through the suburbs arrives at an opulent, grotesque wedding ceremony. In one fell swoop, everything is set in place: our multiple interpretations of reality, the destructive role the façade of outward presentation plays in modern life, and the parallels between religious faith and celebrity status.
Read more »...
Read more »...
- 3/21/2013
- by CineVue UK
- CineVue
Taking its name from the descriptor for a particular type of television programme, the name itself was already something of a misnomer before director Matteo Garrone got his hands on it, Reality tells the tale of a working class Neapolitan fishmonger who sees a chance for stardom and throws himself into making it happen.
Opening with a beautiful long take – the film is filled with gliding tracking shots and majestic crane shots – the camera finally finds a subject that it sticks with and we are introduced to Luciano (Aniello Arena), a man who appears to like being the centre of attention. Luciano lives surrounded by his extended family in Naples, eking out a relatively humble but happy existence running a fish stall, which he also owns.
Following an audition for the Italian Big Brother television show Luciano’s head begins to be filled with the promise of fame and fortune.
Opening with a beautiful long take – the film is filled with gliding tracking shots and majestic crane shots – the camera finally finds a subject that it sticks with and we are introduced to Luciano (Aniello Arena), a man who appears to like being the centre of attention. Luciano lives surrounded by his extended family in Naples, eking out a relatively humble but happy existence running a fish stall, which he also owns.
Following an audition for the Italian Big Brother television show Luciano’s head begins to be filled with the promise of fame and fortune.
- 10/18/2012
- by Craig Skinner
- HeyUGuys.co.uk
A vintage Cannes offers a whale of a drama, a Chinese mystery, and a dainty slice of dysfunctional family life from Wes Anderson. Meanwhile, Woody Allen and Roman Polanski have some explaining to do
Like the Godfather of film festivals that it is, Cannes keeps its friends close and its enemies closer. Over the 65th edition's early days, Cannes clawed back any deserters or doubters with a storming selection, confirming it as the best showcase for challenging cinema from around the world.
Andrea Arnold, the British director whose career Cannes nurtured by promoting her films Red Road and Fish Tank, showed her version of Wuthering Heights at Venice last year. Cannes immediately installed her as a member of this year's jury.
Regulars such as Woody Allen and Roman Polanski, neither of whom have a film showing here, have instead been rewarded with warmly respectful documentaries, made and populated by high-profile friends and fans.
Like the Godfather of film festivals that it is, Cannes keeps its friends close and its enemies closer. Over the 65th edition's early days, Cannes clawed back any deserters or doubters with a storming selection, confirming it as the best showcase for challenging cinema from around the world.
Andrea Arnold, the British director whose career Cannes nurtured by promoting her films Red Road and Fish Tank, showed her version of Wuthering Heights at Venice last year. Cannes immediately installed her as a member of this year's jury.
Regulars such as Woody Allen and Roman Polanski, neither of whom have a film showing here, have instead been rewarded with warmly respectful documentaries, made and populated by high-profile friends and fans.
- 5/19/2012
- by Jason Solomons
- The Guardian - Film News
The relationship between audiences and reality television has shifted to some degree over the past decade (or longer). Where early shows were once positioned as voyeuristic/documentary style looks at Real People, it quickly became clear to those in front of the camera, behind it and at home watching, that reality television is just a different kind of performance. While these programs are ones ostensibly rooted in Real Life, the people selected for these shows -- as well as the writers, producers and directors -- have become increasingly aware of the audience, playing directly to them. Simply put, most people know reality television is actually not that real at all, but in case you forgot, Matteo Garrone's "Reality" is here to remind you.
From the outset, Luciano (Aniello Arena) hardly seems like someone who would be interested or have time for "Big Brother." Not only are his days tied...
From the outset, Luciano (Aniello Arena) hardly seems like someone who would be interested or have time for "Big Brother." Not only are his days tied...
- 5/18/2012
- by Kevin Jagernauth
- The Playlist
Matteo Garrone caught the attention of many critics when his mafia film Gomorrah hit the Us in early 2009. Despite praise that he may have received for the movie (including a home video release by Criterion), word on what would be next for him has been relatively quiet. Now, it’s been revealed that he’s begun shooing his next movie, titled Big House.
The news was broken by Cineuropa (via ThePlaylist), who say that the upcoming movie has started an eleven week shoot in Naples and Rome, with Aniello Arena and Loredana Simioli set to star. It’s said to investigate “the TV industry, reality shows and the illusions of notoriety,” with the script coming from the director, Ugo Chiti and Massimo Gaudioso. Much of his Gomorrah team is returning, such as cinematographer Marco Onorato, editor Marco Spoletini, production designer Paolo Bonfini and sound designer Maricetta Lombardo.
No release date has been set,...
The news was broken by Cineuropa (via ThePlaylist), who say that the upcoming movie has started an eleven week shoot in Naples and Rome, with Aniello Arena and Loredana Simioli set to star. It’s said to investigate “the TV industry, reality shows and the illusions of notoriety,” with the script coming from the director, Ugo Chiti and Massimo Gaudioso. Much of his Gomorrah team is returning, such as cinematographer Marco Onorato, editor Marco Spoletini, production designer Paolo Bonfini and sound designer Maricetta Lombardo.
No release date has been set,...
- 5/6/2011
- by Nick Newman
- The Film Stage
Release Date: Feb. 13
Director: James Gray
Writers: James Gray and Ric Menello
Cinematographer: Marco Onorato
Starring: Joaquin Phoenix, Gwyneth Paltrow, Vinessa Shaw, Isabella Rossellini, John Ortiz
Studio/Run Time: Magnolia Pictures, 110 mins.
When Two Lovers begins, Leonard Kraditor’s (Joaquin Phoenix) parents are entering a business relationship with the Cohen family, which his parents see as an opportunity to rekindle his interest in love and life. Leonard’s last relationship ended disastrously, which left him heartbroken and suicidal. Except while he easily charms his way into Sandra Cohen’s (Vinessa Shaw) heart, he finds himself falling for the more exciting neighbor down the hall, Michelle (Gwyneth Paltrow). It becomes a love triangle, with Leonard’s heart working against his head and the well being of his family.
Director: James Gray
Writers: James Gray and Ric Menello
Cinematographer: Marco Onorato
Starring: Joaquin Phoenix, Gwyneth Paltrow, Vinessa Shaw, Isabella Rossellini, John Ortiz
Studio/Run Time: Magnolia Pictures, 110 mins.
When Two Lovers begins, Leonard Kraditor’s (Joaquin Phoenix) parents are entering a business relationship with the Cohen family, which his parents see as an opportunity to rekindle his interest in love and life. Leonard’s last relationship ended disastrously, which left him heartbroken and suicidal. Except while he easily charms his way into Sandra Cohen’s (Vinessa Shaw) heart, he finds himself falling for the more exciting neighbor down the hall, Michelle (Gwyneth Paltrow). It becomes a love triangle, with Leonard’s heart working against his head and the well being of his family.
- 2/13/2009
- Pastemagazine.com
Release Date: Dec. 19 (limited), Feb. 13
Director: Matteo Garrone
Writers: Roberto Saviano, Garrone, Maurizio Braucci, Ugo Chiti, Gianni Di Gregorio, Massimo Gaudioso
Cinematographer: Marco Onorato
Starring: Toni Servillo, Gianfelice Imparato, Maria Nazionale, Salvatore Cantalupo
Studio/Run Time: IFC, 137 mins.
A bureaucracy of blood, Italian-indie style
Gomorrah’s portrait of Italy’s Camorra crime family is more a Fast Food Nation-style exposé of a teeming criminal ecosystem than a typical mob drama. Powered by several parallel plots corresponding to the family’s interests (drugs, textile manufacturing, waste disposal, weapon running, etc.), the Camorras recall a massive, barely functioning bureaucracy whose internal conflicts happen to be frequently (and efficiently) resolved with insane carnage, both emotional and bodily. There’s a mid-level manager (Gianfelice Imparato’s Don Ciro, proud to work every day in a tie), an Hr department (systematically testing adolescent recruits by decking them with bulletproof vests and shooting) and plenty of corporate politics.
Director: Matteo Garrone
Writers: Roberto Saviano, Garrone, Maurizio Braucci, Ugo Chiti, Gianni Di Gregorio, Massimo Gaudioso
Cinematographer: Marco Onorato
Starring: Toni Servillo, Gianfelice Imparato, Maria Nazionale, Salvatore Cantalupo
Studio/Run Time: IFC, 137 mins.
A bureaucracy of blood, Italian-indie style
Gomorrah’s portrait of Italy’s Camorra crime family is more a Fast Food Nation-style exposé of a teeming criminal ecosystem than a typical mob drama. Powered by several parallel plots corresponding to the family’s interests (drugs, textile manufacturing, waste disposal, weapon running, etc.), the Camorras recall a massive, barely functioning bureaucracy whose internal conflicts happen to be frequently (and efficiently) resolved with insane carnage, both emotional and bodily. There’s a mid-level manager (Gianfelice Imparato’s Don Ciro, proud to work every day in a tie), an Hr department (systematically testing adolescent recruits by decking them with bulletproof vests and shooting) and plenty of corporate politics.
- 2/12/2009
- Pastemagazine.com
Release Date: Dec. 19 (limited), Feb. 13
Director: Matteo Garrone
Writers: Roberto Saviano, Garrone, Maurizio Braucci, Ugo Chiti, Gianni Di Gregorio, Massimo Gaudioso
Cinematographer: Marco Onorato
Starring: Toni Servillo, Gianfelice Imparato, Maria Nazionale, Salvatore Cantalupo
Studio/Run Time: IFC, 137 mins.
A bureaucracy of blood, Italian-indie style
Gomorrah’s portrait of Italy’s Camorra crime family is more a Fast Food Nation-style exposé of a teeming criminal ecosystem than a typical mob drama. Powered by several parallel plots corresponding to the family’s interests (drugs, textile manufacturing, waste disposal, weapon running, etc.), the Camorras recall a massive, barely functioning bureaucracy whose internal conflicts happen to be frequently (and efficiently) resolved with insane carnage, both emotional and bodily. There’s a mid-level manager (Gianfelice Imparato’s Don Ciro, proud to work every day in a tie), an Hr department (systematically testing adolescent recruits by decking them with bulletproof vests and shooting) and plenty of corporate politics.
Director: Matteo Garrone
Writers: Roberto Saviano, Garrone, Maurizio Braucci, Ugo Chiti, Gianni Di Gregorio, Massimo Gaudioso
Cinematographer: Marco Onorato
Starring: Toni Servillo, Gianfelice Imparato, Maria Nazionale, Salvatore Cantalupo
Studio/Run Time: IFC, 137 mins.
A bureaucracy of blood, Italian-indie style
Gomorrah’s portrait of Italy’s Camorra crime family is more a Fast Food Nation-style exposé of a teeming criminal ecosystem than a typical mob drama. Powered by several parallel plots corresponding to the family’s interests (drugs, textile manufacturing, waste disposal, weapon running, etc.), the Camorras recall a massive, barely functioning bureaucracy whose internal conflicts happen to be frequently (and efficiently) resolved with insane carnage, both emotional and bodily. There’s a mid-level manager (Gianfelice Imparato’s Don Ciro, proud to work every day in a tie), an Hr department (systematically testing adolescent recruits by decking them with bulletproof vests and shooting) and plenty of corporate politics.
- 12/15/2008
- Pastemagazine.com
A scene from Gomorrah
Photo: IFC Films I have yet to see the Italian Mafia feature Gomorrah, but since the film won the Grand Prix in Cannes it has been earning plenty of buzz on its way to the States and along with becoming the front runner in the Best Foreign Language Feature category it has also earned some recognition in other categories including Best Adapted Screenplay and things just improved for the feature, which will begin its Oscar-qualifying run this week in Los Angeles and then expand on December 19. Over the weekend Gomorrah took home five awards at the European Film Awards which were held in Copenhagen on Saturday. The film won for Picture, Director (Matteo Garrone), Actor (Toni Servillo), Screenplay (Maurizio Braucci, Ugo Chiti, Gianni di Gregorio, Matteo Garrone, Massimo Gaudioso, Roberto Saviano) and Cinematography (Marco Onorato), which is sure to open Academy voters' eyes. Kristin Scott Thomas...
Photo: IFC Films I have yet to see the Italian Mafia feature Gomorrah, but since the film won the Grand Prix in Cannes it has been earning plenty of buzz on its way to the States and along with becoming the front runner in the Best Foreign Language Feature category it has also earned some recognition in other categories including Best Adapted Screenplay and things just improved for the feature, which will begin its Oscar-qualifying run this week in Los Angeles and then expand on December 19. Over the weekend Gomorrah took home five awards at the European Film Awards which were held in Copenhagen on Saturday. The film won for Picture, Director (Matteo Garrone), Actor (Toni Servillo), Screenplay (Maurizio Braucci, Ugo Chiti, Gianni di Gregorio, Matteo Garrone, Massimo Gaudioso, Roberto Saviano) and Cinematography (Marco Onorato), which is sure to open Academy voters' eyes. Kristin Scott Thomas...
- 12/7/2008
- by Brad Brevet
- Rope of Silicon
Cologne, Germany -- "Gomorra," Matteo Garrone's no-holds-barred look at the modern-day Italian mafia, whacked the competition at the 2008 European Film Awards, sweeping the top categories with five trophies including best European film and best European director.
Based on the nonfiction bestseller by Roberto Saviano, "Gomorra" shines a light on the dark underside of the Neapolitan mob. It debuted in Cannes, where it won the Grand Prix and is Italy's nominee for the 2009 foreign-language film Oscar.
Toni Servillo won best European actor for his portrayal of the dapper crime boss Franco, in charge of the lucrative business of disposing of toxic waste in picturesque farmland across the country.
Garrone and Saviano, along with a screenwriting team that included Maurizio Braucci, Ugo Chiti, Gianni di Gregorio and Massimo Gaudioso, won the Efa screenplay prize, and Marco Onorato took the best cinematographer nod.
Kristin Scott Thomas won best European actress for her...
Based on the nonfiction bestseller by Roberto Saviano, "Gomorra" shines a light on the dark underside of the Neapolitan mob. It debuted in Cannes, where it won the Grand Prix and is Italy's nominee for the 2009 foreign-language film Oscar.
Toni Servillo won best European actor for his portrayal of the dapper crime boss Franco, in charge of the lucrative business of disposing of toxic waste in picturesque farmland across the country.
Garrone and Saviano, along with a screenwriting team that included Maurizio Braucci, Ugo Chiti, Gianni di Gregorio and Massimo Gaudioso, won the Efa screenplay prize, and Marco Onorato took the best cinematographer nod.
Kristin Scott Thomas won best European actress for her...
- 12/7/2008
- by By Scott Roxborough
- The Hollywood Reporter - Movie News
- The Italians apparently do it better. Matteo Garrone's Gomorrah and Paolo Sorrentino's Il Divo grabbed 5 nominations each with Toni Servillo getting nominated as best actor (see above) for his parts in both films. Two films that I thought were worthy contenders in several categories in Nuri Bilge Ceylan’s Three Monkeys and Abdellatif Kechiche’s The Secret of the Grain were shut out while Steve McQueen’s Hunger got two noms but failed to grab a Best Film nom. Last year’s The Orphanage and Waltz With Bashir both receive four nominations. This year’s Palme d'Or winner walked away with noms for best film and best director. Other well represented films include Mike Leigh's Happy-Go-Lucky, Joe Wright's Atonement, Andreas Dresen's Cloud 9 and Eran Riklis' Lemon Tree. Winners will be announced on December 6th in Copenhagen. Here are the categories.: European
- 11/11/2008
- IONCINEMA.com
Film Review: Gomorra, Cannes, In Competition
Powerful, stripped to its very essence and featuring a spectacular cast (of mostly non-professionals), Matteo Garrone's sixth feature film "Gomorra" goes beyond Tarrantino's gratuitous violence and even Scorsese's Hollywood sensibility in depicting the everyday reality of organized crime's foot soldiers. The characters of the film's five stories all work for the Camorra - the Neapolitan "mafia" behind over 4,000 murders in 30 years in Italy, and countless illegal activities - and besides being extremely dangerous are relentless, petty and anything but wise.
Success at home is virtually guaranteed for "Gomorra" as it's based on Roberto Saviano's eponymous 2006 bestseller (1.2 million copies sold, translated into 33 languages) and the build-up to its release along with selection in competition at Cannes have created a huge buzz in Italy. Internationally, the film has sold to a handful of European territories so far, as well as Canada, though buyers are expected to grow significantly after Cannes.
"Gomorra" is one of the rare dramatic films to come out of Italy in recent years that has the appeal to play well theatrically, at least in Europe, and in festivals worldwide. In the U.S., it should play to the widest possible range of Art House audiences looking for a thinking person's mafia movie.
At times slow and documentary-like, "Gomorra" is tension-filled and highly realistic. (Author and co-screenwriter Saviano, 29, has been under police escort even since the book was published.) Shot predominantly in Naples' Scampia neighborhood - an architectural nightmare of enormous rundown apartment blocks - the film never caters to those looking for the kind of adrenaline or over-the-top humor or glamor that's come to be associated with the genre.
Garrone neither judges nor idolizes in his sober approach, and restrains from too many other indulgences, artistic or formulaic, beyond handheld camera work and numerous close-ups. And the faces he chooses, predominantly people plucked from the streets on which he films, make most movie mafiosos look like models.
Even the film's soundtrack (Neapolitan pop music, sparingly used) adds to the overall feel of background rather than imposing a mood. Garrone also makes use of total silence and, rather than coming across as a manipulative film school trick, it only enhances particularly emotional scenes.
Apart from the film's most notable star, Toni Servillo, other standout performances come from Gianfelice Imparatore, Salvatore Cantalupo, Carmine Paternoster and 13-year-old Salvatore Abruzzese.
Cast: Toni Servillo, Gianfelice Imparato, Maria Nazionale, Salvatore Cantalupo, Gigio Morra, Salvatore Abruzzese, Marco Macor, Ciro Petrone, Carmine Paternoster. Director: Matteo Garrone. Screenwriters: Maurizio Braucci, Ugo Chiti, Garrone, Massimo Gaudioso, Roberto Saviano. Producer: Domenico Procacci. Director of photography: Marco Onorato. Production designer: Paolo Bonfini. Costume designer: Alessandra Cardini. Editor: Marco Spoletini.
Production companies: Fandango, RAI Cinema
Sales Agent: Fandango Portobello Sales
No MPAA rating, 135 minutes.
Powerful, stripped to its very essence and featuring a spectacular cast (of mostly non-professionals), Matteo Garrone's sixth feature film "Gomorra" goes beyond Tarrantino's gratuitous violence and even Scorsese's Hollywood sensibility in depicting the everyday reality of organized crime's foot soldiers. The characters of the film's five stories all work for the Camorra - the Neapolitan "mafia" behind over 4,000 murders in 30 years in Italy, and countless illegal activities - and besides being extremely dangerous are relentless, petty and anything but wise.
Success at home is virtually guaranteed for "Gomorra" as it's based on Roberto Saviano's eponymous 2006 bestseller (1.2 million copies sold, translated into 33 languages) and the build-up to its release along with selection in competition at Cannes have created a huge buzz in Italy. Internationally, the film has sold to a handful of European territories so far, as well as Canada, though buyers are expected to grow significantly after Cannes.
"Gomorra" is one of the rare dramatic films to come out of Italy in recent years that has the appeal to play well theatrically, at least in Europe, and in festivals worldwide. In the U.S., it should play to the widest possible range of Art House audiences looking for a thinking person's mafia movie.
At times slow and documentary-like, "Gomorra" is tension-filled and highly realistic. (Author and co-screenwriter Saviano, 29, has been under police escort even since the book was published.) Shot predominantly in Naples' Scampia neighborhood - an architectural nightmare of enormous rundown apartment blocks - the film never caters to those looking for the kind of adrenaline or over-the-top humor or glamor that's come to be associated with the genre.
Garrone neither judges nor idolizes in his sober approach, and restrains from too many other indulgences, artistic or formulaic, beyond handheld camera work and numerous close-ups. And the faces he chooses, predominantly people plucked from the streets on which he films, make most movie mafiosos look like models.
Even the film's soundtrack (Neapolitan pop music, sparingly used) adds to the overall feel of background rather than imposing a mood. Garrone also makes use of total silence and, rather than coming across as a manipulative film school trick, it only enhances particularly emotional scenes.
Apart from the film's most notable star, Toni Servillo, other standout performances come from Gianfelice Imparatore, Salvatore Cantalupo, Carmine Paternoster and 13-year-old Salvatore Abruzzese.
Cast: Toni Servillo, Gianfelice Imparato, Maria Nazionale, Salvatore Cantalupo, Gigio Morra, Salvatore Abruzzese, Marco Macor, Ciro Petrone, Carmine Paternoster. Director: Matteo Garrone. Screenwriters: Maurizio Braucci, Ugo Chiti, Garrone, Massimo Gaudioso, Roberto Saviano. Producer: Domenico Procacci. Director of photography: Marco Onorato. Production designer: Paolo Bonfini. Costume designer: Alessandra Cardini. Editor: Marco Spoletini.
Production companies: Fandango, RAI Cinema
Sales Agent: Fandango Portobello Sales
No MPAA rating, 135 minutes.
- 5/17/2008
- The Hollywood Reporter - Movie News
First Run Features
NEW YORK -- Matteo Garrone's mystery drama "The Embalmer", produced by Italian indie Fandango Prods., scores high for unnerving atmospherics and moody performances. But an eerie setup falters in the second act, where American audiences may find there are too few events to hold their attention. "The Embalmer" swiftly runs out of story and becomes stuck on the sexual squabbles of its characters. Garrone ("Roman Summer") pulls things back into shape with a taut denouement, but viewers may have drifted too far by then to care much about the outcome. First Run Features will release the movie in August.
Garrone's two marginalized characters are reminiscent of Ratso Rizzo and Joe Buck. Seamy dwarf Peppino (Ernesto Mahieux) is a taxidermist who takes young hunk Valerio Valerio Foglia Manzillo) under his wing. Peppino has something going with the mob, whereby he removes smuggled drugs from dead bodies. Valerio draws a good salary for simply keeping Peppino company. Things go fine until Valerio falls for the passionate Deborah (Elisabeth Rocchetti) and invites her to join the gang. As Peppino becomes increasingly jealous, it's revealed that his feelings for Valerio are more sexual than paternal.
The opening scenes show so much promise that the remainder suffers by comparison. Garrone hints that taxidermy will develop into a metaphor, but it ends up as a minor plot mechanism. An interesting look at the protagonists from the point of view of a caribou (reminiscent of the cow's-eye view in Julio Medem's "Vacas") occurs early on, but this surreal approach is quickly ditched for a hard naturalism. It's a shame that Garrone didn't layer these imaginative ideas throughout the movie.
Atmosphere, at least, is consistent. Cinematographer Marco Onorato shoots the whole thing in high contrast -- the blacks are very dark, and the lighting is stark -- which provides a seedy look. Echoey metallic sound effects add an unnerving tone.
NEW YORK -- Matteo Garrone's mystery drama "The Embalmer", produced by Italian indie Fandango Prods., scores high for unnerving atmospherics and moody performances. But an eerie setup falters in the second act, where American audiences may find there are too few events to hold their attention. "The Embalmer" swiftly runs out of story and becomes stuck on the sexual squabbles of its characters. Garrone ("Roman Summer") pulls things back into shape with a taut denouement, but viewers may have drifted too far by then to care much about the outcome. First Run Features will release the movie in August.
Garrone's two marginalized characters are reminiscent of Ratso Rizzo and Joe Buck. Seamy dwarf Peppino (Ernesto Mahieux) is a taxidermist who takes young hunk Valerio Valerio Foglia Manzillo) under his wing. Peppino has something going with the mob, whereby he removes smuggled drugs from dead bodies. Valerio draws a good salary for simply keeping Peppino company. Things go fine until Valerio falls for the passionate Deborah (Elisabeth Rocchetti) and invites her to join the gang. As Peppino becomes increasingly jealous, it's revealed that his feelings for Valerio are more sexual than paternal.
The opening scenes show so much promise that the remainder suffers by comparison. Garrone hints that taxidermy will develop into a metaphor, but it ends up as a minor plot mechanism. An interesting look at the protagonists from the point of view of a caribou (reminiscent of the cow's-eye view in Julio Medem's "Vacas") occurs early on, but this surreal approach is quickly ditched for a hard naturalism. It's a shame that Garrone didn't layer these imaginative ideas throughout the movie.
Atmosphere, at least, is consistent. Cinematographer Marco Onorato shoots the whole thing in high contrast -- the blacks are very dark, and the lighting is stark -- which provides a seedy look. Echoey metallic sound effects add an unnerving tone.
- 3/31/2003
- The Hollywood Reporter - Movie News
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