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Oliver Stone Talks ‘Nuclear’ And Hollywood’s Misguided Love Of Disaster Movies [Interview] - theplaylist.net - city Venice
theplaylist.net
11.09.2022 / 19:59

Oliver Stone Talks ‘Nuclear’ And Hollywood’s Misguided Love Of Disaster Movies [Interview]

Looking dapper in a blue blazer, Oliver Stone is chit-chatting with the press inside a glass box on the terrace of an antiquated hotel on the Venice Lido. He’s been posing for a few photos and doing rounds of interviews during this afternoon of rain that has somewhat dampened the festival glamor.

Venice Review: Paolo Virzi’s ‘Dry’ - deadline.com - Rome
deadline.com
10.09.2022 / 18:53

Venice Review: Paolo Virzi’s ‘Dry’

A disparate group of characters collide in Dry (Siccita), a semi-apocalyptic drama premiering out of competition at the Venice Film Festival. Paolo Virzi directs this glossy portmanteau film that assembles a strong cast for overlapping storylines and satirical social comment. 

Venice Review: Soudade Kaadan’s ‘Nezouh’ - deadline.com - Syria - city Venice - city Damascus
deadline.com
10.09.2022 / 16:49

Venice Review: Soudade Kaadan’s ‘Nezouh’

A Syrian war film with a difference, Nezouh is a delicate and engrossing entry in Venice’s Horizons Extra section. Director Soudade Kaadan won Lion of the Future for 2018’s The Day I Lost My Shadow, and she continues to impress with this empathetic story of life under siege. 

Oliver Stone on Nuclear Energy: ‘We Need to Get Away From Mentality of Fear’ - variety.com - USA - Beyond
variety.com
09.09.2022 / 17:03

Oliver Stone on Nuclear Energy: ‘We Need to Get Away From Mentality of Fear’

Ben Croll Presenting his latest documentary, “Nuclear,” at the Venice Film Festival, director Oliver Stone reflected on the climate crisis in a tone all too rarely struck – optimism. “[We need to] get away from that mentality of fear,” Stone said from a press conference just before his film’s world premiere. “Like everyone else, I saw ‘An Inconvenient Truth’ in 2006, at it was scary. I kept reading the news, and it kept getting worse.” “The movies, television, books [about climate change] are all negative,” he continued. “And I find all that doomsday stuff to be depressing beyond belief.”

Oliver Stone Talks Climate Change Being ‘The Killer Of All Time,’ An American Civil War Over Trump & Making The Case For Nuclear Power In New Film — Venice Q&A + Clip - deadline.com - France - New York - USA - Sweden - county Power - city Venice
deadline.com
07.09.2022 / 17:11

Oliver Stone Talks Climate Change Being ‘The Killer Of All Time,’ An American Civil War Over Trump & Making The Case For Nuclear Power In New Film — Venice Q&A + Clip

Oliver Stone is in Venice this year to debut his latest documentary, Nuclear. Written alongside political scholar Joshua S. Goldstein, the film sets out to re-examine the role nuclear power can play in our lives and makes the case that the energy source is humanity’s only realistic alternative to fossil fuels in the fight against climate change. Deadline sat down with Stone and Goldstein prior to the film’s premiere on the Lido to discuss why the pair decided to link up and how the lengthy production process almost “took the life” out of Stone.

Venice Review: ‘The Lord Of The Ants’ Addresses Homosexuality Under Fascist Rule - deadline.com - Italy - Rome
deadline.com
06.09.2022 / 20:21

Venice Review: ‘The Lord Of The Ants’ Addresses Homosexuality Under Fascist Rule

Myrmecology is a study of science that looks at the life, society, and hierarchy of Ants. Early Myrmecologists believed that Ant culture was utopian and thought by studying them in encased Ant farms, they could find solutions to human problems. However, in Gianni Amelio’s Italian post-WWII drama, The Lord of the Ants (Il Signore Delle Formiche), flips this idea around. It examines why strict societies foster cultures of oppression where everyone must play their role or be punished. The screenplay by Amelio, Federico Fava, and Edoardo Petti chooses its dialogue with precision. They want us to know they resent post-Mussolini Europe and how not just homosexuals but anyone on the margins is oppressed under fascist rule. 

Venice Review: Kim Ki-duk’s Final Film ‘Call Of God’ - deadline.com - France - North Korea - Latvia - Estonia - Kyrgyzstan
deadline.com
06.09.2022 / 20:21

Venice Review: Kim Ki-duk’s Final Film ‘Call Of God’

After a lifetime spent creating outrage and offence, both on and off screen, Korean master Kim Ki-duk has left the world with this final film, finished by his friends after his death. The story of a passionate affair that curdles almost immediately into jealousy and hate – but ends on a lyrically wistful note – is a startlingly appropriate rogue’s epitaph.

Venice Review: Tilda Swinton In Joanna Hogg’s ‘The Eternal Daughter’ - deadline.com - Britain
deadline.com
06.09.2022 / 18:21

Venice Review: Tilda Swinton In Joanna Hogg’s ‘The Eternal Daughter’

The phrase “Joanna Hogg’s Shutter Island” is not a line that many critics expect to bust out in their lifetimes, but with her sixth feature the British director has made a fascinating foray into genre cinema that, while firmly in keeping with the rest of her quasi-autobiographical works, makes a surprising departure from the upper-middle-class realism of her signature film The Souvenir.

Venice Review: Carolina Cavalli’s ‘Amanda’ - deadline.com - Italy - city Venice
deadline.com
06.09.2022 / 10:59

Venice Review: Carolina Cavalli’s ‘Amanda’

An eccentric 20-something tries to make friends in Amanda, a first feature for Italian writer-director Carolina Cavalli. Premiering in Venice’s Horizons Extra section, it’s a comical, stylized character portrait with a strong central turn from Benedetta Porcaroli. 

‘Don’t Worry Darling’ Venice Review: Don’t Worry About The Gossip, Olivia Wilde’s 1950’s Dream Life-Turned-Nightmare Is Kinda Fun - deadline.com - city Burbank
deadline.com
05.09.2022 / 20:31

‘Don’t Worry Darling’ Venice Review: Don’t Worry About The Gossip, Olivia Wilde’s 1950’s Dream Life-Turned-Nightmare Is Kinda Fun

I never start a review commenting on whatever the so-called Film Twitter Mafia have to say about it, sight unseen. Starting back at CinemaCon in April when its directo/co-star Olivia Wilde was served legal papers onstage regarding her custody hearings with ex Jason Sudeikis, there has been non-stop gossip about her movie Don’t Worry Darling. There has been so much of it, right up to today’s Venice Film Festival press conference (covered by my colleague Nancy Tartaglione) that you almost have to address the elephant in the room. Others can do that, but let us not forget there is also a movie here, one I was able to preview as just that a few weeks ago in Burbank. As a reviewer, to quote Being There’s Chauncey Gardner, “I like to watch,” and that means only what is on the screen.

Venice Review: Colin Farrell & Brendan Gleeson In Martin McDonagh’s ‘The Banshees Of Inisherin’ - deadline.com - state Missouri - county Martin
deadline.com
05.09.2022 / 19:00

Venice Review: Colin Farrell & Brendan Gleeson In Martin McDonagh’s ‘The Banshees Of Inisherin’

Playwright and filmmaker Martin McDonagh is up to more deliciously fiendish tricks in The Banshees of Inisherin, a simple and diabolical tale of a friendship’s end shot through with bristling humor and sudden moments of startling violence. It world premieres in competition at the Venice Film Festival Monday. Colin Farrell, Brendan Gleeson and the small handful of supporting players make the most of the author’s vibrant prose in McDonagh’s first film since Three Billboards Outside Ebbing, Missouri five years ago.

Venice Review: ‘Wolf And Dog’ Follows Two Queer Teens In The Azores - deadline.com - Canada - Portugal
deadline.com
05.09.2022 / 18:59

Venice Review: ‘Wolf And Dog’ Follows Two Queer Teens In The Azores

Wolf and Dog (Lobo e Cão) is the first feature film by Portuguese director Claudia Varejão. The movie follows a group of queer teenagers growing up in the uber-religious town of San Miguel in the Azores who yearn for more than the small-town ideals and the mundane lifestyle of their parents. Written by Varejão and Leda Cartum, the central characters try to build a community of their own. Still, the adults want the kids to remain stagnant, become farmers, fishermen, or mothers, and force them to enjoy that lifestyle. The movie has challenging moments to get through because they slow the pacing, making it a more tedious viewing experience, but the script works hard to subvert some harmful tropes.

Venice Review: ‘Ordinary Failures’ Follows The Interconnected Lives Of Three Women - deadline.com
deadline.com
05.09.2022 / 12:39

Venice Review: ‘Ordinary Failures’ Follows The Interconnected Lives Of Three Women

Director Cristina Grosan’s Ordinary Failures (Bezna Selhani) follows three people dealing with everyday problems against the backdrop of impending doom. Written by Klára Vlasáková, is about getting out of your head and experiencing the world in the present before it passes you by (or no longer exists). At first, the plot is confusing, but it eventually comes together in a satisfying (yet bleak) way.

Venice Review: Penelope Cruz In Emanuele Crialese’s ‘L’Immensita’ - deadline.com - Italy - Rome
deadline.com
05.09.2022 / 12:39

Venice Review: Penelope Cruz In Emanuele Crialese’s ‘L’Immensita’

Even before the title flashes up for Venice Film Festival competition entry L’Immensita, we know that Penelope Cruz is the most fun mom – most likely the only fun mom – in town. She doesn’t just set the table for dinner; she puts on music, leads the kids in a choreographed dance and singalong as they pass plates and cutlery, emoting into a passing fork as if it were a microphone. Adults bore her. At a birthday dinner for an ancient relative, she slips under the table to join her children in removing and mixing up everyone’s shoes. “I want to play!” she says, eyes gleaming.

Venice Review: Brendan Fraser In Darren Aronofsky’s ‘The Whale’ - deadline.com - Britain - city Venice - county Fountain
deadline.com
04.09.2022 / 22:43

Venice Review: Brendan Fraser In Darren Aronofsky’s ‘The Whale’

Who would have thought that, of all the top-shelf auteurs in Venice’s big comeback year, the most constrained would be Darren Aronofsky? His new competition film The Whale opens with that very intent — the screen is cropped to 1:33 — which turns out to be most appropriate for a small and intimate movie about a very big man.

Venice Review: Virginie Efira In Rebecca Zlotowski’s ‘Other People’s Children’ - deadline.com - France
deadline.com
04.09.2022 / 20:59

Venice Review: Virginie Efira In Rebecca Zlotowski’s ‘Other People’s Children’

Blended families, where children alternate between parents and spend their lives with an assortment of half-siblings or kids from their parents’ previous relationships, are now so normal that it’s easy to overlook how painful the blending process can be. Bitter separations, disrupted households, new beds and new people appearing in them, the resentments children feel for the grown-ups’ failures and the interloping new partners pawing at the mom or dad who is rightfully theirs: none of this is easy, even in splits later described smoothly as “amicable.”

Venice Review: Paul Schrader’s ‘Master Gardener’ - deadline.com
deadline.com
04.09.2022 / 20:45

Venice Review: Paul Schrader’s ‘Master Gardener’

“I made a new life for myself from flowers,” marvels the green-thumbed Narvel Roth. “How unexpected is that?” To be fair, it’s about the only plausible thing that happens in Paul Schrader’s Venice Film Festival out of competition entry Master Gardener, an incredibly silly but fitfully entertaining noir-tinged drama that follows so neatly on from First Reformed and The Card Counter that it’s almost as if Schrader has patented his own sui generis subgenre, a mix of the sublime and the ridiculous that just about works if you’re prepared to walk the line with it.

Venice Review: Adrian Sibley’s ‘The Ghost Of Richard Harris’ - deadline.com - Britain
deadline.com
04.09.2022 / 18:23

Venice Review: Adrian Sibley’s ‘The Ghost Of Richard Harris’

Though it sets out on a ghost hunt, Adrian Sibley’s fitfully fascinating documentary works better as an exploration of its subject’s public and private personas, charting Richard Harris’ rise from local sports star to screen legend via an unexpected heyday as a chart-topping pop star in 1968.

Venice Review: Ricardo Darín In Santiago Mitre’s ‘Argentina, 1985’ - deadline.com - Argentina - city Santiago
deadline.com
03.09.2022 / 21:01

Venice Review: Ricardo Darín In Santiago Mitre’s ‘Argentina, 1985’

When the colonels enter the courtroom, they clearly think they are in the clear. A military court has spent a year deciding that whatever excesses the Argentinian police, army and whoever else might have committed, these gentlemen were not down in the muck where these things happened, whatever “these things” were. One by one, they rise to announce that, as military men, they do not recognize the authority of the civil court. They are holding back smirks. Perhaps they think they will be free of this nonsense by lunchtime.

Venice Review: Rachid Hami’s ‘For My Country’ - deadline.com - France - Algeria - Taiwan
deadline.com
03.09.2022 / 19:13

Venice Review: Rachid Hami’s ‘For My Country’

“Candy is better in France,” says a small boy to his brother in a flashback scene in For My Country (Pour La France), Rachid Hami’s personal drama premiering in Horizons at the Venice Film Festival. The boy’s Algerian family is considering moving to France, and his simplistic response sums up his innocent, optimistic view of his new home. But — as we have already discovered — France will bring tragedy to the family in this moving account based on Hami’s memories of his late younger brother.

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