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The movie of the week - November 3

Departures of Yojiro Takita

Synopsis After the dissolution of the orchestra where he played as a cellist in Tokyo, Daigo Kobayashi Yamagata returns with his wife in a rural province in the north of Japan. Looking for a new job, Daigo responds to an ad for an "aid to the departure" convinced that this is a travel agency. In reality realizes that he has to do with the funeral agency. Driven by economic necessity, however, accepted Daigo the place. Immersed in this world unknown to him, the former musician discovers everything about the funeral rituals, continuing to hide his wife the true nature of his work.

Departures was one of the most pleasant surprises of last season's films. Built in 2008, winner of 'Best Foreign Language Film Oscar the following year (this year's prize went to the secret of his eyes, playing at the end of the bill) in Italy came out as usual with a delay abysmal, thanks to the work of the small production company Tucker, born from the collaboration between the circle of the cinema WCC Cinemazero of Udine and Pordenone, who has been organizing in the vital FarEastFestival Friuli, where the film is over.
Contrary to expectations, however, the film was a success, especially in that segment of the audience of adult men and women, but not that much older, more and more agencies often tend to forget the market and which the times are likely to reverse market expectations. On the theme of the film, perhaps, of the delicacy with which it is treated, the finesse with which it is set up an exhibition of cultural anthropology disguised as a narrative People: the fact is that Departures (means "death", departments, and it is unclear why the hell have decided not to translate it) is one of the most successful arthouse films of recent times, a little movie that unexpectedly is large and touches the hearts of many unexpected visitors (at home and has grossed more than 60 million and defeated the Israeli Oscar Waltz with Bashir, which, however, told mo 'of the way, deserved much more ...).

Alberto Crespi has written on the drive, Departures "is a film about death so peaceful," but above all builds a story that has a central theme in death, but that is its breadth of breath many times, "the contrast of city / state and modernity / tradition, the acceptance of death as a last moment of life, the essence of the Rite in Japanese culture. "

Here and there, slowed by the desire to lighten the story and not un'estetizzazione request of the Japanese countryside, Departures is an acute observation about death and the relationship we build with it. The death is for the living, not death, the film seems to say. But above all, death is close to the body of the remains, makes its presence forces us to look at concrete and eyes, to wash, clean, shaved, coating, through the still warm body of one who is gone. The work of the protagonist is that of a ferryman, that is the one who helps the dead to appear in good condition in the presence of the afterlife, but most importantly it is a secular priest, acceptance of suffering. 'The living beings eat dead creatures to live. The exception is plants, "he says his teacher, and therefore the body is a necessary and unavoidable presence in our lives, a reality that Western culture tries to avoid perhaps, worse still mystify, and that is in the East high through the delicate ritual of dressing and makeup.

In this sense, Departures is a film that celebrates the trick as a necessary form of protection against the reality of life and the inevitable presence of death, because the relationship the protagonist has with her work, with its delicacy and its depth, helps him to rediscover the meaning of life and lost at the same time helping people and assisting in the face of attending a macabre and moving his show to accept death through the acceptance of the joys and sorrows of life . Therefore, a film that is praise of cosmetics, makeup, and by extension the film itself: a film of the past, narrative, legends, symbols in a little ' bold or naive, but sincere in his own way, made to the general public and the general public rightly rewarded.

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PRESS IMPORTANT - SIGNING OF CONTRACTS

From Thursday, October 28 will begin with the signing of contracts at the offices of Via Thaon de Revel.
We begin with the letters in alphabetical order AB D. C If you end up with all the names of the letter D will continue with the other letters.
The signing of contracts will continue on Friday 29 and Saturday, October 30.
Bring a Certificate of Family Status Family Allowances use EXPIRED NOT VALID (the certificate is valid for 6 months).
coming up with valid ID card not expired and legible and the tax code clearly visible.
At the time of signature, compile the modules and application forms on the spot.

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The movie of the week - October 27

Clash of Civilizations Over an Elevator in Piazza Vittorio Isotta Toso

Synopsis In a building Piazza Vittorio in Rome, is in a stage show of daily coexistence between different ethnic groups. Under the eyes of the concierge malicious Benedetta, browse a bourgeois woman who despises the domestic Ecuadorian, a university teacher in Milan, a lawyer who retired after the suicide of his father, a bully elderly who live by their wits, a condominium with the defect model of philanthropy and an exiled Iranian seeking political asylum. A mysterious death in the lift force to cross the condominiums their lives and raise underlying tensions. Watch the trailer



Opera before a small film director Roman and trying to tell today's Italy with the weapon of irony and outrage civil Clash of Civilizations Over an Elevator in Piazza Vittorio is adapted from a novel by Amara Lakhous (publisher and / or). An ensemble film set in Rome in the Piazza Vittorio, not far from Termini Station, which once housed a market, and today has become the refuge and the new immigrant communities in the Middle East and China. A place that seems about to explode, not because of the tensions that will meander (that where there is a flourishing trade in the coexistence of people is easier), but because the rules of living in our country seem to be subverted, with pale faces the Italians and their antiquated rules or do not respect that seem out of place, literally (and not to sit behind the slogan of the League) "foreigners in their homes."

The novel idea, taken up and developed by the director Isotta Toso, it's all here: take a historic building in Rome, a symbol of an Italian soul glorious but now uncertain, and make a patchwork of people, nationalities and ethnic groups to serve as the symbol of the Italian multi-ethnic society. A society still fragile, as a matter of definition, torn between rejection and acceptance, coexistence, and forced the mutual exploitation of their resources.

In the film all the characters live in the building a bit 'shooting protagonist: Iranians, Arabs, Africans, Algerians, Romans, illegal. All argue with everyone, and for any reason: for use of the elevator, the dog barking always on the nerves because it's hot, it's summer, because must always going to wait and talk to the police station. Live badly, every time someone dies, and then others are forced to stop and wonder, perhaps with difficulty, the reasons for which they prefer confrontation to dialogue, lite by comparison.

In the best tradition of Italian comedy, choral stories heralding the backdrop of a working-class Rome, the film is constructed as a moral parable and openly challenge the danger of the assumption pedantic and didactic, rather trying to make the paradox and cliché of the possible interpretations of the millennium Italy. Not always Isotta Toso is successful, puts all his ideology on the table and perhaps exaggerates in the doses, but the pamphlet has the courage of the undertaking, makes a few claims to common sense amid the ruins of derelict and the cast works well in the contamination of styles, mainly due to Serra Yilmaz (the actress's favorite Ozpetek ), Roberto Citran , Milena Vukotic , Isa Danieli, Ninetto Davoli .

Clash of Civilizations Over an Elevator in Piazza Vittorio will not be an example of the Italian cinema that will take us out of the crisis of ideas and looks that always hits this country (as may be the next film of the program, The four times and The mouth of the wolf), but is a healthy breath of fresh air that makes you think with a smile on the major and crucial issues of our open society. If you do not think about politics, after all, that is fine cinema.


Director: Isotta Toso. Subject: novel by Amara Lakhous. Written by: Maura vespina, Isotta Toso, with the collaboration of Andrea Cotti. Photography: Fabio Zamarion. Music: Gabriele Coen, Mario Rivera. Editor: Patrizio Marone . Set Design: Anna Forletta. Costumes: Eva Coen. Cast: Kasia Smutniak (Giulia) Daniele Liotti (Marco Manfredini), Serra Yilmaz (Nurit), Ahmed Hafiene (Amedeo), Marco Rossetti (Lorenzo, Gladiator), Kesia Elwin (Maria Cristina), Isa Danieli (Benedetta), Milena Vukotic (Mrs. Fabiani), Luigi Diberti (Angel Manfredini), Roberto Citran (Antonio Marini), Francesco Pannofino (Sandro Dandini), Ninetto Davoli (Richard), Fabio Traversa (Deputy Bettarini), Paolo Calabresi (Commissioner Bettarini), Manuela Morabito (Manuela), Vincenzo Crivello (Tano) , Massimo De Santis (Leo), Lamine Labidi (Iqbal), Sara Labidi (Penelope), Gabriel Zagni (Abdallah). Production: Maura vespina, Sandro Silvestri Emme and Rai Cinema. Distribution: Bolero Film. Origin: Italy 2009. Duration: 96 '.

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order to provide for the preparation of slips and delivery of one-off for the month of October and then process the payroll of November and December

URGE

only for those who still has not previously delivered , and skills that every worker should send in the Association documents listed below:

1. certificate of availability for work
2. Certificate unemployment
3. Certificate of family status to use checks, in case you want to ask family allowances
4. Certificate for tax deductions for the year 2010, if you want to take tax deductions
5. IBAN code for the accreditation of amounts.

Make sure your identification is valid, necessary for the signing of the contract.

NOTES

For those who have yet to get the certificates mentioned in paragraph 1 and 2, contact your local Employment Centre in Viale Regione Siciliana in Palermo n.2289 for residents, for residents of other cities to address their Center for Employment competent.

The Family Status Certificate is valid for 6 months from the time of release, verified that it is still valid.

In reference to the IBAN code, referred to in paragraph 5, make sure that the Code previously reported to be present in force and strictly personal (can not be made payable to someone other than the paid).

Remember to bring On signing the contract a copy of your identification document (valid) and a photocopy of your social security number.

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The movie of the week: October 20

Invictus - The invincible Clint Eastwood

Synopsis
Elected President of South Africa, Nelson Mandela launches national reconciliation process, which provides, among other things, the emergence of rugby, mainly white sport, at the black population. Tenacious and visionary, Mandela gave his support to the national team ahead of the Rugby World Cup to be held just South Africa: The year is 1995 and the team in green and gold configgerà final New Zealand contributing considerably to the end of apartheid.

Watch the trailer for the film

While this cinecircolo projects Invictus - The invincible , the 2009 film released worldwide in early 2010, the United States is already in theaters on new work Clint Eastwood , Hereafter, presented at the Toronto Film Festival a month and expected in January in Italian cinemas. Last May, then the director of both films has made eighty years and has been interviewed a few weeks ago where it stated have intentions of making films until his death. We thus hope gets as late as possible, if the price is having to watch every season one or even two Clint Eastwood films , a little 'what happens in the film festivals with the works of the centenary (and now immortal) Manoel De Oliveria.

Eastwood has accustomed us to a very prolific and a very high quality of his films. And even if jobs are not up to the last of his masterpieces, among all Unforgiven (1991), A Perfect World (1993), The Bridges of Madison County (1995), Mystic River ( 2003) and Million Dollar Baby (2004), with Invictus - The invincible confirmed to be the author's moral cinema, classic, and it has always been accurate.

What started as a project of his particular Morgan Freeman, who had a dream of a career in the interpretation of Nelson Mandela (which completes the task in admirable fashion), has become in the hands of a great author work on the morality of human actions and the ability to change history through the daily action. So this is not the praises of a popular character and unique, but the simple story of a human and political, Mandela, who can teach each of us how to intervene personally on their fate.

clear: Invictus - The invincible is perhaps among the least personal film Eastwood, a commissioned work too smart to be authentic (by chance arrived in the world of South Africans) and too mythicized for the entirely credible. But the criticism that can move are formal in nature, not, paradoxically, inspired or need. And for once, perhaps it is better to leave aside the sacrosanct request for aesthetic rigor and focus on the reasons that led Estwood and his screenwriter Anthony Peckham to adapt John Carlin's book and tell the story of how Mandela was able to unite a country in the name of rugby and of civil society after decades of apartheid.

In this sense, as written by Roberto Escobar, "the problems facing the film are two. The first show is already in the subtitle Italian. It is not invincible, Rolihlahla Mandela, Nelson said. Rather, it is not a win: his moral and political measure is not the (dangerous) the hero, but the common man that the difficulties and sufferings become a leader, as stated in his autobiography (Long Walk to freedom). The second danger concerns the way we "feel" the movie. " And that is the way by viewers - and viewers accustomed to Hollywood movies, the way is always the same with a narrative structure that makes the daily epic - we react to the events narrated by the film. Invictus - The invincible calls for emotion, participation, wonder at the extraordinary figure of Mandela himself is the protagonist of the film, the great leader of a nation, not in itself be a mythological figure or extraordinary. Mandela, by contrast, like the understatement, it does what is exciting in itself, not because he is looking for her, the emotion. Therefore, the look of the film on its main character is ambiguous, at the risk of misunderstanding, with one hand the desire to and exalt the other, the result, successful, to make it human, to paint him as an ordinary man who has been able to make extraordinary choices. "If I were no longer able to take risks," he says at one point the secretary, "I would not be a leader."

is then that perhaps the film is important for reasons far removed from its original intentions as a work that is not elegiac, created to celebrate a man and his people (for more through a sporting event which had long been imposed on suspicion of imbroglio, accused the South Africans to poison the food of New Zealand the evening before the World Cup Final), but as a work that "still" the emotions Mandela's moral awareness, his exceptional everyday. "And in this," says Escobar, "makes clear the moral consciousness of the director (...) in the consciousness of the individual is the value of each choice, and consciousness of many individuals can make the world a better place."

In the end, then, despite uncertainty stylistic surprising for an author of this stature, it seems that Eastwood has made Invictus - The invincible one of his most mature works: not between his best, but the most simple and direct, more open to the general risk emotion.

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The Core - Best vintage

Would you like to review films in the history of Italian cinema and foreign cinema in the new 35mm film? Sergio Leone, Monicelli , Rosi, Antonioni , Hitchcock, Kubrick , Totò, Mastroianni , Alberto Sordi, Sophia Loren , Gino Cervi and Fernandel and more!


Nucleus is considering a proposal for a vintage cinema Ordet room to run in during the weekend.
With no card this time, but with very low single ticket.

What the associates? Would you be curious to review the film in cinema history again in the house?

Have your say right here on the blog. To write a comment, just click on the word comments under this message.

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Film of the week: October 13

The man who will George Rights

Synopsis
1943/1944. Martina was eight years and is the only daughter of a couple of poor peasants of a village on the slopes of Monte Sole The girl has stopped talking the first time when her brother died after a few days of life and now that the mother is pregnant again spends his days waiting for the new baby. Meanwhile the country is caught between the commander of the partisan brigades advancing Nazis and the Wolf: the night of 28 and 29 September 1944, finally the baby is born, but few hours later, the SS began an unprecedented sweep, which will be remembered as the Marzabotto massacre, which killed 780 civilians, mostly women and children.

Watch the trailer for the film

The infamous criminal reprisals on civilians. The tragic reality is almost always part of wars and Italy, in his most recent period, it has experienced during the Nazi occupation. One of the most serious in terms of size and how was the Marzabotto massacre, where the hands of German soldiers and SS in a few days were massacred about 770 people, mostly women, children and the elderly. After the happy event

de The wind blows round his independent film debut - in Italy and abroad - got fifteen awards, consistent with artistic continuity (mountain setting, interpreters from among the residents, use of dialect) Giorgio Civil Rights is a contribution of historical memory. Among other things, investing much of himself: he wrote, produced, directed, edited. Doubly good reason, given that the process to the leaders of that shameful page took place 60 years after the event.

with set and natural light, poor and ragged clothes, Rights follows a rigorous reconstruction of the first costume (the slaughter of the pig, the home birth, the stories of adults and the whole family gathered together weaves baskets) and then the events. Therefore shows how, taking advantage of the institutional vacuum and the superiority of force against the resistance, the young soldiers grew up under Hitler's regime Teutonic raid cattle, rape, remain impassive in the face of fear, pain, despair, the invocations, rake and killed at home, church, a cemetery. After this feast, get drunk, sing and dance. For a valuable educational purpose of hope against conflicts, on the EP to a background chorus of age are those green eyes of a child who has stopped talking about the general horror, survives the massacre case, save the baby brother (here it is, "the man who will") him back with him into the now empty house and starts to sing.