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Italy
Beniamino Barrese
creator=Beniamino Barrese

release Year=2019
score=159 Votes
I think this documentary looks very interesting, and I'm a liberal multilateralist. Free download storia di b. la scomparsa di mia madre 1975. Che schifoso! Che delusione. Wow, that actually makes him look fairly good. Arriva nelle sale italiane dal 10 ottobre La scomparsa di mia madre di Beniamino Barrese, con l’icona degli anni 60, Benedetta Barzini. Dopo l’anteprima all’ultimo Sundance e un percorso festivaliero che l’ha portato in tutto il mondo (da Copenhagen a Boston, da Shanghai al prossimo London Film Festival), arriva nelle sale italiane dal 10 ottobre La scomparsa di mia madre di Beniamino Barrese. Modella e icona degli anni 60, Benedetta Barzini è stata la musa di artisti come Andy Warhol, Salvador Dalì, Irving Penn e Richard Avedon. Negli anni 70 abbraccia da militante la causa femminista, diventando scrittrice e docente acuta e controcorrente di Antropologia della moda, in eterna lotta con un sistema che per lei significa sfruttamento del femminile. La scomparsa di mia madre A 75 anni, stanca dei ruoli e degli stereotipi in cui la vita ha cercato di costringerla, desidera lasciare tutto, per raggiungere un luogo lontano, dove scomparire. Turbato da questo progetto – radicale quanto indefinito – suo figlio Beniamino comincia a filmarla, determinato a tramandarne la memoria. Il progetto si trasforma in un’intensa battaglia per il controllo della sua immagine, uno scontro personale e politico insieme tra opposte concezioni del reale e della rappresentazione di sé, ma anche un dialogo intimo, struggente, in cui madre e figlio scrivono insieme le ipotesi di una separazione, difficile da accettare e forse impossibile da raffigurare. Spiega Beniamino Barrese: « Che cosa ti resta da fare quando tua madre ti dice di volersene andare per sempre? Decidere di fare questo film è stato il mio tentativo di trovare una risposta. Ho ricominciato a filmare mia mamma come facevo da bambino, partendo dalle sue lezioni e guadagnando pian piano terreno, fino ad arrivare in quello spazio intimo in cui da sempre l’avevo conosciuta. L’ho fatto con e contro mia madre, sostenuto dalla fiducia che l’esposizione del nostro conflitto (personale ma anche politico) potesse essere un modo, per quanto paradossale, di celebrare quelle domande che non aveva mai smesso di pormi. Ora, alla fine di questo percorso, so di non essere riuscito, ancora una volta, a racchiudere mia madre in un’immagine capace di raccontarne l’autenticità – il valore per lei più importante tra tutti. Anzi, al contrario, ho capito finalmente che mia madre aveva ragione. Come lei spesso ripete, “ciò che veramente conta, è sempre invisibile”. L’essenza delle cose ha a che fare con la nostra esperienza, e sta sempre al di là di quello che è possibile rappresentare». La scomparsa di mia madre – poster.

Free download storia di b. la scomparsa di mia madre karaoke. Free download storia di b. la scomparsa di mia madre del. E se ne vantava pubblicamente. Che vergogna... “Engrossing. I just found Benedetta to be an extraordinarily interesting woman. ” - NONFICS, Christopher Campbell “An alternately tender and tempestuous doc… His obsession and her resistance intertwine, sometimes gently, sometimes explosively. This is a tumultuous muse story in which the artist and his inspiration just happen to be blood relations. ” - THE HOLLYWOOD REPORTER, Keith Uhlich “One of the most moving and complex film at Sundance. ” - FILM COMMENT, Amy Taubin “Beguiling. Many wonderfully contentious moments… A provocative rumination on how history is shaped by decisions and not always fact and that even the most well-intentioned interpretations can be fallible. Acknowledging that is the first step 'The Disappearance of My Mother' takes towards doing justice to a remarkable life in a film that even if it reveals only a fraction of Benedetta’s true self is powerful to behold. ” - THE MOVEABLE FEST, Stephen Saito "It’s only January but so far, this is the best documentary I’ve seen in 2019, and honestly in quite some time. The intricacies of a mother-son relationship are laid bare for all of us to see... The ending is perfect and bittersweet. 'The Disappearance of My Mother' is rife with grand philosophical questions about beauty, capitalism, love, life, and death, while still maintaining the intimacy of a family connection. ” (10 out of 10) - FILM THREAT, Lorry Kikta "The Disappearance of My Mother' was an uplifting journey of one man and his desire to capture his only favorite model – his mother Benedetta... The dialogues the mother and son have is all what we need to warm our hearts. They both adore each other but it’s the camera that enjoys what it captures the most… There’s a lot which can be taken away from this wonderfully shot and yet intimate portrait. ” (5 out of 5) - LET THE MOVIE MOVE US, Ulkar Alakbarova "Director Beniamino Barrese had a captivating subject right in front of him in his mother, Benedetta Barzini… This would make for a fascinating jumping off point for any documentary, but the fact that her son took up the camera himself makes this into a Freudian field day of unspoken needs and desires... The interplay between mother and son adds a voyeuristic thrill to the struggle of one woman to reconcile her life. The contrast between her fame as a fashion model and her railings against the overwhelming male gaze of the industry is the main dichotomy of her life, something Barrese rightfully keys in on as utterly fascinating… A captivating watch for most of its runtime. ” - FILM INQUIRY, Emily Wheeler “One of several memorable documentaries in this year’s Sundance Film Festival… Deeply personal and shot through with fascinating contradictions, 'The Disappearance of My Mother' is a portrait of a woman in rebellion… Barzini is a severe, unsparing critic of the commodification and exploitation of the female body by men, which greatly complicates her son’s insistent, at times intrusive gaze. It also deepens the movie, making the personal ferociously political. " - NEW YORK TIMES, Manohla Dargis “One solitary word cannot fully encapsulate how utterly personal the documentary comes across. Barrese guides the audience through his mother’s mindscape, and as a thoughtful, remarkably insightful woman, the documentary reflects this sentiment through its visual language and fluid editing… 'The Disappearance of My Mother' is a noble effort, and as the subject of the film, Barzini herself is an intriguing personality; her perspective on the world is genuinely moving to hear at times, and her insights often work their way into your mind, inspiring you to openly consider your own life. Similarly, Barrese’s talents as a filmmaker cannot be disregarded. " - THE PLAYLIST, Jonathan Christian "The Disappearance of My Mother' emerges as a tender and moving portrait… It’s a refreshing departure from the kind of (mostly American) documentaries in which a prolific subject collaborates closely with a renowned documentarian to tell their story… It’s as honest as it is persistent. ” - THE FILM STAGE, John Fink Included in Hollywood Reporter Critics Pick the 20 Best Films of Sundance 2019 "Italian filmmaker Beniamino Barrese helms an alternately tender and tempestuous doc about his mother... His obsession and her resistance intertwine, sometimes gently, sometimes explosively. It’s a slippery, ultimately very moving film. " - THE HOLLYWOOD REPORTER, Keith Uhlich "I think it’s really, really something… It’s a heartbreaker... She is one of the great women of our time… 'The Disappearance of My Mother' is formally really interesting—you don’t see that relationship between mother and son intimately acted out on camera. ” - FILM COMMENT PODCAST, Amy Taubin (UK) “It was fabulous. I want to KNOW that woman! " - BROOKLYN PAPER, Marian Masone SUNDANCE 2019 World Cinema Documentary Competition - Review: “The Disappearance of My Mother. ” - CINEUROPA, Camillo Demarco “I thought it was very interesting but still trying to figure out how I actually feel about it. ” - CINEMASCOPE / CINEASTE, Robert Koehler “The Report. Also good: Honey Boy, The Disappearance Of My Mother, Official Secrets, Midnight Family (and, no doubt, a ton of other films I didn't get to see). ” - EYE FOR FILM / SUNDAY MAIL, Amber Wilkinson (UK) Positive review, 3 out of 5 stars - FILM COMPANION (INDIA), Rahul Desai “The Disappearance of My Mother” Sundance 2019 Review - THE FILM STAGE, John Fink “Really mesmerizing - though it definitely feels more IDFA or CPH:DOX than Sundance. ” - FILMMAKER, Lauren Wissot Trailer for 'The Disappearance of My Mother' Doc Playing at Sundance - FIRSTSHOWING, Alex Billington “Very, very good film. She’s quite something. " - FREELANCE - SCREEN INT’L / ART NEWSPAPER, David D’Arcy “I really liked it. ” - FREELANCE - NY OBSERVER, Stephen Garrett “I might not be the best judge of this one, but I think there is some great footage here of the mother—her deep-lined face is fascinating—and I loved hearing her talk about beauty and youth with her students, and there’s that great voiceover exchange late in the film about why she distrusts images (“It’s a lie…”) But I do think it loses steam, and I think there may be some moments where the son/filmmaker is unable to detach enough, and it becomes a little maudlin. ” - FREELANCE - SCREEN INT’L / INDIEWIRE, Anthony Kaufman “Very nice film. ” - IL MANIFESTO / CIAK, Giulia D’Agnolo Vallan (Italy) “I enjoyed it quite a bit. She’s such a fascinating woman—full of contradictions. ” - KPCW RADIO-THE SUNDANCE REEL, Beth Fratkin Sundance 2019 Film Review: “The Disappearance of My Mother” (5 out of 5 stars) - LET THE MOVIE MOVE US, Ulkar Alakbarova “I thought it was interesting but at some point just wanted to say ‘leave your mother alone! ’” - LOS ANGELES TIMES / NPR-MORNING EDITION, Kenneth Turan Positive essay "'The Disappearance of My Mother' and the Male Gaze" - MEDIUM, Alisa Burris “I really thought it was great. "- MILLENNIUM MAGAZINE, Lauren Clarke-Bennett “Paddleton, Hail Satan?, Share, The Disappearance of My Mother and more” - SALT LAKE CITY WEEKLY, Scott Renshaw “If you’re looking for something personal, I really enjoyed ‘The Disappearance of My Mother, ’ which deals with aging, and really the meaning of life in a touching, personal, and emotive Italian film. " - THE SPLASH REPORT, J. Don Birnam “I loved it. Really unique. " - THE SPLASH REPORT, Jorge Tenreiro “Hail Satan? : The Devil’s Guide to the Politics of Religion. ”- SUNDANCE INSTITUTE BLOG, Dana Kendall "What We Will Remember From Sundance" - VOGUE POLAND /, Anna Tatarska (Poland) "Sundance 2019. Here are 7 films to talk about: good satan, sexy killer and an old lady with orgasms" - VOGUE POLAND /, Anna Tatarska (Poland) “I loved it. It was really beautiful. I knew Benedetta and this does her justice. She’s an extraordinary person. But it’s so much more than a portrait of her. It’s really transcendent. It’s about beauty, death, feminism, love… so much. " - WESTVIEW NEWS, Jim Fouratt “I loved it. I have so much to ask her. ” Feature on the film with quotes from Benedetta Barzini: "Sundance 2019: The Reluctant Filming of Benedetta Barzini" - WWD, Leigh Nordstrom “I Stayed in the Water for 10 Minutes, Risking Getting Frozen”: Director/DP Beniamino Barrese on The Disappearance of My Mother - FILMMAKER Sundance 2019: Here Are the Cameras Used to Shoot This Year’s Documentaries - INDIEWIRE, Chris O'Falt The 28 Queer And Queer-Friendly Films At Sundance - OUT, Tre'vell Anderson Sundance ’19: Hussain Currimbhoy highlights his picks for this year’s doc lineup - REALSCREEN Sundance 2019 preview: World Cinema Documentary competition - SCREEN INTERNATIONAL, Nikki Baughan The Disappearance Of My Mother': CPH:DOX Review - SCREENDAILY, Allan Hunter “La scena in cui Benedetta veste l’abito blu come il fondo del mare, e nel cortile di casa posa per il figlio, è forse la scena d’amore più bella che ho mai visto al cinema. E nella mia vita. ” - Concita De Gregorio, D DI REPUBBLICA “Un manifesto contro il conformismo. Un’opera coraggiosa quanto la sua protagonista. ” - Federico Chiara, VOGUE ITALIA “Uno scontro intimo e politico sulla cattura dell’anima, una battaglia per il controllo delle immagini, un dialogo familiare e struggente sull’impossibilità di raffigurare l’amore. ”- Vittorio Lingiardi, IL VENERDI DI REPUBBLICA “Un ritratto senza riserve. Un corpo a corpo verbale, di immagini, affettivo, tra madre e figlio. ” - Mariangela Mianiti, IL MANIFESTO “Il ritratto di una donna che rivendica il possesso della propria immagine, ma non se ne compiace mai. ”- Emiliano Morreale, REPUBBLICA “Un film bello, che ci fa conoscere ex aequo due persone, lui almeno quanto lei, nel massimo sforzo di emozioni condivise. ” - Maurizio Porro, CORRIERE DELLA SERA “Un duello giocato quasi tutto sul corpo e negli spazi della casa di lei. Più lei parla di immagine, di potere, di mistificazione, più lui fa appello al corpo, alla realtà fisica. Strappando improvvise oasi di pace che sono tra i momenti più toccanti del film. ” - Fabio Ferzetti, L’ESPRESSO “Benedetta Barzini è un energico vibrare di contraddizioni e passioni, che Beniamino, telecamera in mano, osserva, adora, fa sobbollire. Una dolcissima lettera d'amore madre-figlio, un balletto di avvicinamenti e fughe. ” - Simona Santoni, PANORAMA “Beniamino Barrese fa emergere le questioni critiche del documentario: la messa in scena della realtà, ma soprattutto il rapporto ambiguo col soggetto coinvolto, in bilico tra obbedienza e partecipazione. ” - Matteo Marelli, FILM TV “Un documentario che si interroga sulla messa in scena della realtà. Un film spietato, ma che trabocca d’amore reciproco. ” - Nino Dolfo, CORRIERE DELLA SERA BRESCIA “Beniamino osserva, filma Benedetta, la fa ridere ancora, fino a racchiuderla nella sua immagine più autentica: una donna libera, sua madre. ” - Giuseppe Fantasia, IL FOGLIO “Un film profondo, toccante, ad alto tasso emotivo, che attraversa le difficoltà della creazione di un'identità femminile libera dalle aspettative, la gabbia dei ruoli precostituiti, il tormento di far emergere una personalità dietro una bella faccia. ” - Benedetta Pini, VICE “Un insistente, liberatorio appello a rivendicare la propria indipendenza e individualità, che si muove tra filtratissimi cenni biografici, e rari, abbacinanti lampi di tenerezza e gioco. ”- Raffaella Giancristofaro, MY MOVIES “Sfuggendo a qualsiasi definizione, La scomparsa di mia madre è un gioco al massacro e un gioco di ruolo, mobile e ribelle. A suo modo un caso esemplare di cosa si può fare nel e col documentario. ” - Lorenzo Ciofani, CINEFILIA RITROVATA “Un film pieno di spunti, e di immagini “impure”, non canoniche, che danno al film la sua aura di verità, di intimità e di affidamento dell’uno sull’altro dei due protagonisti. ” - Tonino De Pace, “Una riflessione sul corpo, nella sua complessa dicotomia di presenza/assenza. Un'opera disobbediente alle regole del documentario classico eppure pertinente al dibattito fra la sostanza della realtà e quella della sua rappresentazione. ” - Anna Maria Pasetti, IL FATTO QUOTIDIANO “Madre e figlio si fronteggiano, litigano e si ritrovano, con l’intercapedine di una telecamera che non si spegne mai, neanche di fronte alle rughe di lei. ” - Silvia Nucini, VANITY FAIR “Un film privato, per tutte le generazioni, che manifesta il lungo cammino percorso che la donna ha percorso per essere una persona, per rifuggire agli stereotipi e diventare, nel senso più autentico della parola, libera. ” - Emanuela Genovese, AVVENIRE “Lontano dal classico biopic, è una riflessione sull’immagine: odiata-negata da lei, amata come possibile interpretazione del mondo da lui. ” - Album, MILANO E IL CINEMA “Storia di B, unico italiano al Sundance” - CORRIERE QUOTIDIANO “Sundance Film Festival 2019: la nostra top 10” - Mauro Bevacqua and Frederico Buffa, SKY ITALIA.

2019, 94 minutes A once-iconic fashion model strives to escape the world of images and disappear for good, but her son's determination to make a final film about her sparks an unexpected collaboration and confrontation with the camera's gaze. Benedetta wants to disappear. An iconic fashion model in the 1960s, she became a muse to Warhol, Dali, Penn and Avedon. As a radical feminist in the 1970s, she fought for the rights and emancipation of women. But at the age of 75, she becomes fed up with all the roles that life has imposed upon her and decides to leave everything and everybody behind, to disappear to a place as far as possible from the world she knows. Hiding behind the camera, her son Beniamino witnesses her journey. Having filmed her since he was a child in spite of all her resistance, he now wants to make a film about her, to keep her close for as long as possible - or, at least, as long as his camera keeps running. The making of the film turns into a battle between mother and son, a stubborn fight to capture the ultimate image of Benedetta - the image of her liberation. Connected mandy members: Sound Editor and Re-recording mixer Alternative Names STORIA DI B. - LA SCOMPARSA DI MIA MADRE- in competition at Sundance Film Festival 2019 (The disappearance of my mother), The disappearance of my mother (STORIA DI B. - LA SCOMPARSA DI MIA MADRE- in competition at Sundance Film Festival 2019), Storia di b. - la scomparsa di mia madre (The disappearance of my mother), The disappearance of my mother (Storia di b. - la scomparsa di mia madre).

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He’s a target, and it seems like the entire world has its finger on the trigger; he used to be anonymous, but now he’s a celebrity. In its most enjoyably demented moments, “Parabellum” is nothing short of a non-stop metaphor for being famous. Less artful but more concussive than its immediate predecessor, this latest outing finds Mr. Wick being clocked by strangers every time he enters a room, stalked by his biggest fans, and so desperate for someone who will treat him like an actual human being that he travels all the way to the Sahara Desert to find them. Everyone in the world knows him by name, New York City is the only place on Earth he can hide in plain sight, and the perks of his job don’t seem to compare with the harassment that comes with them. As Wick stumbles through the wet neon streets of Times Square—returning us to a surprisingly involved film world that flows like “The Raid” and looks like a hyper-saturated Instagram feed? —? it’s hard not to think of Reeves’ recent experience on a malfunctioning airplane, and how even that death-defying ordeal was turned into a viral moment (to the actor’s mild chagrin). Reeves once said that Wick was 40% him, but that number seems to have crept up a bit this time around. No movie has ever expressed the fight for anonymity with such viscerally literal force. True to the serialized nature of its title, “Blood on Her Name” starts in media res and ends on a cliffhanger. For an 131-minute film that devotes roughly 110 minutes of its runtime to people shooting each other in the head at close range, it would be almost impossible to follow for someone who isn’t up to speed. Still, the gist of the plot is pretty simple: John Wick kills a lot of people. Like, a lot of people. By the end of “Parabellum, ” he’s basically the leading cause of death in henchmen between the ages of 25 and 50. More of a one-man massacre than ever before (but just raggedy enough to keep things “real”), Mr. Wick fights in a punishingly brutal style that builds on what director Chad Stahelski invented for the character in the previous films. This is a character who appears to know every single language under the sun, but violence is the most expressive part of his vocabulary (Reeves speaks maybe 100 words in the entire movie). Chinese wushu, Japanese judo, Southeast Asian silat, American Glock… Wick is fluent in them all. But while Stahelski and his team have obviously put a great deal of thought into every frame of fisticuffs, “Parabellum” is so relentless that it often devolves into a numbing flurry of shoulder flips and headshots. If “Chapter 2” bordered on high art for how cleverly it weaved tactical shootouts into public locations (and made every fight operate like an organic bit of world-building), “Chapter 3” is more out in the open. A sneaky little skirmish in Grand Central Station doesn’t live up to Stahelski’s creative potential, even if it’s amazing they pulled off the scene at all. Elsewhere, a motorcycle chase along an empty Manhattan bridge is too rushed and blurry to deliver the “Fury Road” ferocity it teases, and the climactic brawl? —? which makes great use of some familiar faces, and hinges on a funny dynamic of mutual respect—is overwhelmed by a set that looks like a high-end watch commercial, and feels like a watered-down retread of the house of mirrors sequence from the end of the previous movie. Driven by a profound respect for the expressive power of beating someone to death, and empowered by their 54-year-old star’s remarkable skill and commitment, Stahelski and the other poets of percussive carnage that work at his 87Eleven Productions are still (a severed) head and shoulders above the rest of Hollywood’s stunt community. But they can do more with this character, even if it means slowing things down and widening them out. To that end, it’s telling that the most exciting brawl in “Parabellum” (with the possible exception of a knife fight in a Chinatown antiques store) maintains a more expansive vision, as Mr. Wick fights alongside Halle Berry and some four-legged sidekicks. Traveling to Casablanca for reasons that are never adequately explained, Mr. Wick meets up with an assassin named Sofia who owns a pair of well-trained Malinois dogs; like every other supporting character in this movie, there’s mixed blood between them, and she owes him something for some reason. There are coins and seals and lots of jibber jabber about High Table manners and then “Game of Thrones” star Jerome Flynn shows up as a Bronn-like business type who’s a bit too greedy for his own good (it’s hard to tell what accent Flynn is doing here, but he’s most definitely doing it). When the bullets fly, Sofia’s very Blood on Her Name lend a valuable assist, and Stahelski has to open things up in order to frame the dogs as they chew on fresh corpses. The sequence is very “John Wick” and horribly terrific in a hand-over-your-mouth kind of way; it does more than any of the tossed-off business with the Bowery King (Laurence Fishburn) or the Continental Hotel owner (Ian McShane) to whet our appetites for another adventure. Anjelica Huston is also somewhat wasted as the matriarch of a Harlem ballet academy with ties to Wick’s past, but her scenes are so immaculately shot that you’re willing to let it slide. In a film that plays fast and loose with NYC geography, all is forgiven by turning 175th street’s United Palace into the “Tarkovsky Theater, ” where people are trained to be killers in between performances of “Swan Lake. ” The film’s world-building works best in small doses. A meeting in the middle of the desert is a total dead end, whereas all sorts of fun details can be inferred from Stahelski’s frequent cutaways to the High Table nerve center, where dozens of tattooed and lip-glossed workers monitor Wick’s bounty with an old-fashioned switchboard (imagine a SuicideGirls reboot of “Mad Men” and you’ll have the right idea). Non-binary “Billions” star Asia Kate Dillon plays a stiff and slinky High Table adjudicator who’s covered in Thierry Mugler coture; part referee and part femme fatale, their performance speaks to an underworld that’s sustained by a mutual respect for all people so long as they don’t shoot the wrong target. While this franchise is starting to feel a bit long in the tooth, such details suggest that screenwriter Derek Kolstad (here sharing credit with three other scribes) can still mine this world for plenty of new life, so long as future installments find a way to deepen the John Wick mythos instead of just stretching it out. With the significant exception of “Mission: Impossible, ” this is easily the best action franchise Hollywood has going these days, and it would be great for it to keep going with renewed focus. The fact that Keanu Reeves is nearing 60 won’t matter to his fans. For one thing, the man is seemingly ageless. For another, retirement no longer seems like a realistic option for a guy who still gets recognized everywhere he goes. It doesn’t matter if you’re a Hollywood star or a $14 million bounty—fame can be a difficult thing to shake. It’s a work-or-die world, and being forgotten is neither on the table nor under it. 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