IMDb storyline: Roland des Roncesvalles is a legendary knight from the age of chivalry in France. In the 11th-century epic La Chanson de Roland, he is depicted as a key figure in halting the advance of the Arabs into France. In this story, the 10th-century legend is staged by a group of 12th-century pilgrims using the 11th-century poem. Their acting is interrupted by a violent peasant uprising, which kills many of the pilgrims. However, one of the survivors, is converted to the peasant cause and later speaks out in favor of more just treatment for the downtrodden. (Written by Ulf Kjell Gür) Read More »
Tag Archives: Dominique Sanda
*** BEST FOREIGN LANGUAGE FILM – Oscar winner, 1972 ***
The film is set in Ferrara, northern Italy, between 1938-1943, and shows the lives of the Jewish Finzi-Contini family and their friends as they struggle against Mussolini’s fascism and anti-Semitism in wartime Italy. The Finzi-Contini family is one of the leading families in the town. The adult children, Micòl and Alberto, gather friends for tennis at their villa with its lovely grounds, keeping the rest of the world at bay. Into the circle steps Giorgio, a Jew from the middle class who falls in love with Micòl. Read More »
Rome, 1880. Gregorio has decided to close his bakery, the family business. Then he tells his sons Pippo, Mario and daughter Teta that they will have to fend for themselves. But newly married Irene, Pippo’s wife, a beautiful, calculating and ambitious young woman, wants to take over the inheritance. Acting on intelligence, weighing every step and its consequences, she manages to convince the brothers that they must prevent at all costs that his father falls in love again to avoid the risk of losing their inheritance. Read More »
Based on Ivan Turgeyev’s novella, Erste Liebe is about two young lovers in czarist Russia. One is a 21-year-old woman, the other a young man of sixteen. Things take a tragic turn as the girl (Dominique Sanda as Sanaida) falls in love with the boy’s father (Maximilian Schell). This film was nominated for Best Foreign Language Film in 1970’s Academy Awards. Written
by Reece Lloyd Read More »
The film style of Robert Bresson is the subject of this documentary tribute to the French director and screenwriter, and to his minimalist auteur films about sensitive individuals (or even animals) trying unsuccessfully to survive in a cruel world. Weg Naar Bresson is divided into several segments with specific themes, such as “camera” or “theory,” that are illustrated by film clips, and interviews with Bresson himself (a coup), and also with acclaimed directors Andrei Tarkovsky, Louis Malle, and Paul Schrader (who also wrote a book on three directors, including Bresson).
– Eleanor Mannikka, All Movie Guide Read More »
In 1880, a colonel and his French wife live in a fort in the Patagonian desert. The colonel takes an Amerindian as captive, with the intent to civilize her. A “southern” movie (in opposition to “western”, as it was shot in the deep Argentinean south
Dos caras de una misma moneda. Uno viene de lo salvaje hacia la civilización; la otra, desde la civilización hacia la barbarie. Se realiza un cambio de identidad. El guerrero queda impresionado con la civilización romana, y siente que pertenece a aquella. La abuela de Borges quiere rescatar a la india, pero ella la rechaza. Se espanta, no puede creerlo; pero cuando su marido muere, ella se siente identificada. Cuando la india toma la sangre caliente del caballo que acababa de degollar, es cuando termina de demostrar que nunca dejará de ser india, más allá de su lugar de nacimiento. Read More »
Based on the 1836 novel by Balzac (wiki)
Script-writers who adapt Balzac or Dostoievsky excuse the idiotic transformations they impose on the works from which they construct their scenarios by pleading that the cinema is incapable of rendering every psychological or metaphysical overtone. In their hands, Balzac becomes a collection of engravings in which fashion has the most important place, and Dostoievsky suddenly begins to resemble the novels of Joseph Kessel, with Russian-style drinking-bouts in night-clubs and troika races in the snow. Well, the only cause of these compressions is laziness and lack of imagination. The cinema of today is capable of expressing any kind of reality. What interests us is the creation of this new language. (…) The fundamental problem of the cinema is how to express thought.
Alexandre Astruc, The Birth of a New Avant-Barde: La Camera-Stylo (1948) Read More »