5 articles from 2009
Magnolia in 'Love' with Swinton and Luca Guadagnino’s Latest
12 December 2009 6:25 PM, PST
| ioncinema
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The film is pure bliss, Tilda Swinton is not surprisingly, spot on and who knew, fluent in Italian and as I had remarked and so does this Magnolia Pictures press release, it falls into Visconti territory (The Leopard/Death in Venice). - Thanks to a couple of buyer friends and our West Coast correspondent Yama Rahimi for sending me into the last screening for Luca Guadagnino’s I Am Love - the film is pure bliss, Tilda Swinton is not surprisingly, spot on and who knew, fluent in Italian and as I had remarked and so does this Magnolia Pictures press release, it falls into Visconti territory (The Leopard/Death in Venice). Magnolia Films (who've worked with Swinton this summer with the difficult to market title Erick Zonca's Julia) have picked up the rights to the pic - another post-tiff pick up that demonstrates the new wait and see trend in buyers.
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- Ioncinema.com Staff
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Ask the Flying Monkey! (November 23, 2009)
23 November 2009 5:03 AM, PST
| AfterElton.com
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Have a question about gay male entertainment? Send it to aftereltonflyingmonkey@yahoo.com! (Please include your city and state and/or country.)
Q: On last week’s episode of The Amazing
Race, both Sam and Dan’s groin areas were pixelated during their mudflats
volleyball game in Tallinn, Estonia
– but no one else was. Upon arrival at the mudflats volleyball court, Sam,
after a thorough survey of their male competitors, remarked how gorgeous and
good-looking they all were in their black trunks. Could it be a case of
uncontrolled standing ovation or just attire malfunction? – Anonymous
Sam (left) and Dan McMillen
A: What are you suggesting – that they both
had uncontrolled standing ovations? That makes me wonder what’s in the water
back in Liberty, Missouri.
But it’s true: plenty of viewers were perplexed by the curious case of the pixilation
of the underwear of Amazing Race’s hot
gay brothers.
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- brent
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Documentaries of bliss
19 November 2009 3:00 PM, PST
| The Guardian - Film News
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The re-released cinematic head-trip Forest of Bliss adheres firmly to the purer school of documentary-making
The lowest form of documentary involves a presenter setting off on a journey to discover why he or she didn't yet know something about which we, the audience, were already adequately informed. Near the opposite end of the documentary spectrum are those quiet, almost anonymous films such as Être et Avoir or Sleep Furiously, in which a community is observed and recorded with minimum fuss and no overt manipulation. Beyond those are films – so seldom seen that one could be forgiven for thinking them extinct – with no presenter, no commentary, no characters, no specific setting and no narrative or story. Godfrey Reggio's Koyaanisqatsi (a Hopi Indian word meaning "life out of balance"), made in 1982, is the classic of its kind: a compilation of ravishing footage of cities and natural wonders, seen at night and in the blaze of day,
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- Geoff Dyer
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Bruce Weber's Roberto Bolle Photo Book
9 November 2009 8:09 AM, PST
| Vanity Fair
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Roberto Bolle, performing at London’s Royal Opera House in 2008. Just as Vf Daily’s heartthrob smackdown started heating up, a new candidate entered the race: Roberto Bolle, the 34-year-old Italian ballet sensation, who is the subject of Vanity Fair contributing photographer Bruce Weber’s new book, Roberto Bolle: An Athlete in Tights (teNeues), out this week. Born in Casale Monferrato, Bolle began training in 1994 at Milan's Theatre La Scala Ballet School, where he was chosen by Rudolf Nureyev to dance the part of Tadzio in Death in Venice. Since 2007, Bolle has danced with American Ballet Theatre, where his repertoire includes Albrecht in Giselle, Des Grieux in Manon, Romeo in Romeo and Juliet, Prince Siegfried in Swan Lake, and Aminta in Sylvia. Roberto Bolle: An Athlete in Tights is the result of a three-year collaboration between the dancer and Weber, who also photographed Robert Pattinson for this month’s V.
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Exclusive Interview with Composer Claudio Gizzi
6 October 2009 1:14 AM, PDT
| Fangoria
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In Paul Morrissey’s eccentric and utterly unhinged 1974 Eurotrash classic Blood For Dracula (often erroneously credited as the brainchild NYC art guru Andy Warhol), the opening imagery of Dracula (played by iconic German weirdo Udo Kier) painting his face kabuki white has always haunted me. The sequence is the spine and soul of the picture, showing the good Count as a tired, lonely showman who has long been forgotten by time and by the audience he once terrified.
And as eerily gorgeous as that bit of credit crawling business is, it’s the delicate piano waltz playing in the background that truly sells it.
Like Morrissey’s 3D companion film Flesh For Frankenstein the music for Blood was composed by Italian musician Claudio Gizzi. It’s orchestral, elegant, full of melancholy mourning and sadness. And truthfully it’s that dichotomy between the excessive gore, sex and general insanity on screen with Gizzi’s sophisticated,
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- no-reply@fangoria.com (Chris Alexander)
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5 articles from 2009
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