sábado, 29 de abril de 2023

Breaking the Waves (Lars von Trier, 1996)

Drama set in a repressed, deeply religious community in the north of Scotland, where a naive young woman named Bess McNeil meets and falls in love with Danish oil-rig worker Jan. Bess and Jan are deeply in love but, when Jan returns to his rig, Bess prays to God that he returns for good. Jan does return, his neck broken in an accident aboard the rig. Because of his condition, Jan and Bess are now unable to enjoy a sexual relationship and Jan urges Bess to take another lover and tell him the details. As Bess becomes more and more deviant in her sexual behavior, the more she comes to believe that her actions are guided by God and are helping Jan recover.

Director Lars von Trier

Stars: Emily Watson, Stellan Skarsgård, Katrin Cartlidge

Was #6 on Martin Scorsese's list of the Best Films of 1990s.

Was #7 on Roger Ebert's list of the Best Films of 1990s.

Theatrical film debut of Emily Watson. She received an Oscar nomination for her role in this film.

Subs: English & Portuguese

YouTube video link:  https://youtu.be/CODuGPQ_qoo

Movie blocked (copyright) in Andorra, Belgium, France, French Polynesia, Guadeloupe, Guyana, Italy, Luxembourg, Martinique, Mayotte, Monaco, Netherlands, New Caledonia, Réunion, San Marino, St. Barthélemy, St. Martin, St. Pierre & Miquelon, Vatican City, Wallis & Futuna

Mansfield Park (1999)

At 10, Fanny Price, a poor relation, goes to live at Mansfield Park, the estate of her aunt's husband, Sir Thomas. Clever, studious, and a writer with an ironic imagination and fine moral compass, she becomes especially close to Edmund, Thomas's younger son. Fanny is soon possessed of beauty as well as a keen mind and comes to the attention of a neighbor, Henry Crawford. Thomas promotes this match, but to his displeasure, Fanny has a mind of her own, asking Henry to prove himself worthy. As Edmund courts Henry's sister and as light shines on the link between Thomas's fortunes and New World slavery, Fanny must assess Henry's character and assert her heart as well as her wit.


Patricia Rozema


Jane Austen and adapted by Patricia Rozema


Frances O'Connor, Jonny Lee Miller, Alessandro Nivola, Hugh Bonneville, Embeth Davidtz and Harold Pinter as Sir Thomas Bertram.

Subs in English.

YouTube Video Lnk: https://youtu.be/2KepyCEI8gk

Copyright-protected content. The owner allows the content to be used on YouTube.

The Professor (Il Camorrista) 1986

Vaguely inspired to the real story of boss of the Camorra's bosses Raffaele Cutolo, this is the story of the criminal career of "Il professore" (the professor). He is in prison, and by there he is able to build, step by step, an empire founded on murders and drugs. He starts a war to destroy all the old Camorra bosses and becoming the new "boss of the bosses". With his sister's help he manages to evade from prison and escape in New York. Here he starts immediately a new relationship with "Cosa Nostra" (Italian American Mafia). He is going to seat on the peak of the most powerful criminal organization, and the Italian authorities are almost impotent.


Giuseppe Tornatore


Ben Gazzara, Laura del Sol, Leo Gullotta

This movie was originally produced as a 5-hour TV-movie.

First theatrical film directed by Giuseppe Tornatore.

Despite Ben Gazzara played his role in Italian, he was later dubbed by Mariano Rigillo.

Music by Nicola Piovani.

Subs: English & Portuguese

Video Link: https://youtu.be/26ocTE5RSOA

Copyrighted movie but blocked only in Spain.

quinta-feira, 27 de abril de 2023

3-Iron (Bin-jip) , 2004

Tae-suk (Hee Jae) is a lonely drifter who spends his nights in one empty vacation home after another. However, Tae-suk is not your usual squatter, as the courteous young man always makes sure to show his absent -- and unknowing -- hosts his gratitude by doing small household tasks or making simple improvements before moving on. One day, Tae-suk mistakes a quiet home for an empty one and stumbles across an abused housewife (Seung-yeon Lee) in urgent need of his intervention.

Director & Writer Kim Ki-duk


Seung-Yun Lee, Hee Jae, Hyuk-ho Kwon

Director Kim ki-Duk wrote the screenplay of the movie in one month, the movie was filmed in 16 days and the film editing was done in 10 days.

Crew members gave up half their paychecks to fund the movie, but were later paid with profit.

The golf ball tied to the tree is how the director practiced hitting a golf ball. It saved him spending money at a golf course.

The main actor didn't know how to play golf. The director taught him how to hit a golf ball.

Included among the "1001 Movies You Must See Before You Die", edited by Steven Schneider.

Subs: English & Portuguese

Movie link:  https://youtu.be/DAmnm9MTrqU

Copyright owner is blocking in these territories

American Samoa, Bermuda, Canada, Guam, Italy, Marshall Islands, Micronesia, Northern Mariana Islands, Palau, Puerto Rico, U.S. Outlying Islands, U.S. Virgin Islands, United States

quarta-feira, 26 de abril de 2023

Proof (1991) with Russell Crowe and Hugo Weaving

A mistrustful blind man, a desperate, love-hungry woman, a misguided young man, and what happens when these three paths intersect.

Martin is a misanthropic blind man, whose unshakable mistrust of humanity compels him to compulsively take photographs of everything around him. So deeply-rooted is his paranoia that he believes his own mother rejected him because of his handicap, and so deceived him in her descriptions of the world. Martin took a picture--his first--of a garden his mother customarily described to him, as evidence that she had lied.

Director & Writer

Jocelyn Moorhouse


Hugo Weaving, Geneviève Picot, Russell Crowe.

Subs: English & Portuguese

YouTube link:  https://youtu.be/T9cqXUtmVm8

Copyrighted content, but owner allows the content on YouTube.

terça-feira, 25 de abril de 2023

Harry Belafonte Dies: Actor, Singer And Civil Rights Icon Was 96

Harry Belafonte, the actor, singer and civil rights trailblazer, has died, aged 96.

He passed away this morning of congestive heart failure at his New York home, with his wife Pamela by his side.

Belafonte is considered among the most successful Caribbean-American music stars of all time and was a figure in Hollywood during the 1950s and 1960s, before becoming an early supporter of the Civil Rights Movement.

He was a confidant of Dr. Martin Luther King Jr. and backed many historic political and social causes and events, including the anti-Apartheid Movement, equal rights for women, juvenile justice, climate change and the decolonization of Africa. He was one of the organizers of the 1963 March on Washington, leading a delegation of Hollywood including best friend Sidney Poitier, as well as Paul Newman,  Sammy Davis, Jr, Marlon Brando, Rita Moreno, Tony Curtis and many others.

Belafonte starred in several movies, including Bright Road, Carmen Jones, Buck and the Preacher and Uptown Saturday Night, the latter two appearing opposite Poitier. He also produced films such as Beat Street, and later in his career appeared in movies including White Man’s Burden, Kansas City and Bobby.

His breakthrough album was 1956’s ‘Calypso’, which was recorded three years after his first widely released single, ‘Matilda.’ While calypso was his signature sound, he recorded gospel, American standards, blues and show tunes.

Source: Deadline

domingo, 23 de abril de 2023

The 13th Day (2009)

Faith's answer to the DaVinci Code, a true story of a miracle in Fatima. In a world torn apart by persecution, war and oppression, three children were chosen to carry a message of hope to the world.

The film opens at Pontevedra in Spain in 1937, twenty years after the Marian Apparitions. Sister Lucia, the only surviving seer, writes down her memories according to the request of her superiors, the memoirs that are stored in her heart. With the vivid, yet mystical, foggy flashbacks, she becomes the sole narrator of the story, as below.

1917, Fatima, Portugal Between May and October 1917, the Blessed Virgin Mary appeared to three young children, Lucia Dos Santos and her cousins Jacinta and Francisco Marto, in the fields outside their village of Aljustrel, very close to Fatima in Portugal. The Lady of Light “more brilliant than the sun” would come and speak to them at the same time, on the 13th day of each month for six months promising that on her last visit, she would perform a miracle for all to see, so that they would believe. Lucia later revealed that on the Lady’s third visit, she gave the children a Secret, told in three parts in the form of prophetic visions of future events including the advent and timing of the Second World War, the spread of communism, and the assassination of the Pope


Dominic Higgins, Ian Higgins


Jane Lesley, Tarek Merlin, Michael D'Cruze

Subtitles only in English. Portuguese ones are out of syncro.

Video Link: https://youtu.be/I41eG7PYj-A

Copyright-protected content. The owner allows the content to be used on YouTube.

sábado, 22 de abril de 2023

Anonyma Eine Frau In Berlin (2008)

A nameless woman keeps a diary as the Russians invade Berlin in the spring of 1945. She is in her early 30s, a patriotic journalist with international credentials; her husband, Gerd, a writer, is an officer at the Russian front. She speaks Russian and, for a day or two after the invasion, keeps herself safe, but then the rapes begin. She resolves to control her fate and invites the attentions of a Russian major, Andreij Rybkin. He becomes her protector of sorts subject to pressures from his own fellow soldiers and officers. Dramas play out in the block of flats where she lives. Is she an amoral traitor? She asks, "How do we go on living?" And what of Gerd and her diary?


Max Färberböck


Nina Hoss, Evgeniy Sidikhin, Irm Hermann

The source novel was virtually banned in West Germany when it was first published in the late 1950s. When it was republished in 2003, it became a huge bestseller and nationwide sensation in a reunified Germany.

Anonyma was later revealed to be journalist Marta Hillers.

The movie's source novel is the diary of an unnamed woman, called Anonyma, from April 29, 1945 to June 22, 1945.

As a protective measure the author requested her anonymity as author of her book: Eine Frau in Berlin (A Woman In Berlin).

In the four months that the Soviet army occupied Berlin, the soldiers raped an estimated 95,000 to 130,000 females. A Soviet war correspondent reported that soldiers were raping every German female "between 8 and 80."

Subs: English, Portuguese

YouTube Video Link  https://youtu.be/3UMRZi0JwgI

Copyright owner is blocking in these territories

Australia, Austria, Bangladesh, Bhutan, Cambodia, China, Germany, Hong Kong, India, Indonesia, Japan, Laos, Macao, Malaysia, Myanmar (Burma), Nepal, New Zealand, North Korea, Philippines, Poland, South Korea, Spain, Sri Lanka, Switzerland, Taiwan, Thailand, Timor-Leste, Türkiye, Vietnam

Nothing But the Truth , with Bob Hope (1941)

Bob Hope swears he will tell "Nothing but the Truth" in this 1941 comedy also starring Paulette Goddard, Edward Arnold, Helen Vinson, Leif Erickson, and Willie Best. This was Hope's and Goddard's third film together. 

Hope plays a broker, Steve Bennett, who agrees to invest Goddard's money for a charity and double it. He's not sure how to do it until he gets into a discussion with his fellow brokers about lying versus telling the truth. Steve feels the same things can be accomplished by the truth rather than lying. He puts up his $10,000 to bet that he can tell the truth for 24 hours.

Directed by Elliot Nugent

Starred by Bob Hope, Edward Arnold, Paulette Goddard, Leif Erickson.

Subs: English, Spanish and Portuguese

Video Link: https://youtu.be/p25HqD3Ksqo

No Copyright issues.

sexta-feira, 21 de abril de 2023

Salaam Bombay ! (Mira Nair, 1988)

Young Krishna's mother abandons him at the Apollo Circus and informs him that he can only return home when he can afford 500 rupees to pay for his brother's bicycle that he destroyed. The circus then leaves Krishna behind and he takes a train to Bombay, where he works delivering tee for Chacha's street bar and being called "Chaipau" by the local street children. He befriends heroin addict and drug dealer Chillum, and young Manju Golub, the daughter of Baba Golub and prostitute Rekha Golub. Krishna dreams of saving 500 rupees to return home, but Bombay street life isn't easy.


Mira Nair


Shafiq Syed, Anjaan, Amrit Patel

Irrfan Khan made an appearance in this film as a writer, one of his first appearances.

Nana Patekar accidentally got stabbed by the child actor. The actor did not understand the director's instructions properly.

Most of the young actors who appeared in the film were actual street children. They received dramatic training at a special workshop in Bombay before they appeared in the film.

Bollywood 2nd movie nominated for Oscar after Mother India (1957).

Hard subtitles in English

YouTube link: https://youtu.be/SGPDS99jtEE

Copyright owner is blocking in these territories

American Samoa, Canada, Guam, Marshall Islands, Northern Mariana Islands, Palau, Puerto Rico, U.S. Outlying Islands, U.S. Virgin Islands, United States

Irma Vep (Olivier Assayas, 1996)

It is a movie about moviemaking. A formerly respected director tries to make a comeback with a remake of a silent movie. In his artistic vision, he must have Hong Kong action star Maggie Cheung for the lead. Miss Cheung plays herself. She arrives in Paris alone, not speaking a word of French, and is thrust into the turmoil of a failing film with a squabbling French crew and a director who is having a personal breakdown.

Director & Writer

Olivier Assayas


Maggie Cheung, Jean-Pierre Léaud, Nathalie Richard.

Much of the film depicts set-related incidents that echo scenes in François Truffaut's A Noite Americana - Day for Night (1973), to which Irma Vep owes a large thematic debt. However, Olivier Assayas publicly stated that although he considers Day for Night (1973) a great film, it is more about the fantasy of filmmaking than the reality. 

The idea for the film was born out of an attempted collaboration among Olivier Assayas, Claire Denis, and Atom Egoyan, who wanted to experiment with the situation of a foreigner in Paris.

Olivier Assayas wrote the screenplay in nine days.

The title is the anagram of "vampire."

Subs: English & Portuguese

YouTube Link: https://youtu.be/pjFu9WrnJWo

Copyright owner is blocking in South Korea

A Dry White Season (1989)

It's 1976. Ben du Toit (Donald Sutherland) is a liberal South African schoolmaster and a former rugby star. He is shocked by the police beating of his gardener Gordon's son but does nothing. When the kids gather to protest the teaching of Afrikaans, the police reply with violence. Gordon's son goes missing. Ben, in his sheltered life, tries to help and the police tells him that he's dead. Ben again advises Gordon to leave it alone. Gordon continues to investigate and gets arrested. Captain Stolz (Jürgen Prochnow) is the man in charge of torturing Gordon. Gordon's wife brings lawyer Stanley Makhaya (Zakes Mokae). The police claims that Gordon committed suicide. Stanley brings Ben to the Soweto township and shown the truth of his torture. Melanie Bruwer (Susan Sarandon) is a newspaper reporter. Civil rights lawyer Ian McKenzie (Marlon Brando) relents to Ben and takes on the case.


Euzhan Palcy

Stars: Donald Sutherland, Janet Suzman, Zakes Mokae, Marlon Brando, Susan Sarandon, Jurgen Prochnow and Michael Gambon as the Magistrate.

Music by David Grusin

Marlon Brando decreed that his lines be audio-transmitted to him via a closed-circuit receiver earplug that he would wear in his ear, which Brando claimed was for artistic reasons.

With this movie, writer and director Euzhan Palcy became the first Black woman to direct a major Hollywood movie.

Source novelist André Brink's (source) novel, "A Dry White Season" (1979), was banned in his native homeland of South Africa.

In the court scene, McKenzie (Marlon Brando) was supposed to insult the magistrate and be removed from the courtroom by two guards. Writer and Director Euzhan Palcy did four takes of the scene, but ultimately decided that the scene was too unintentionally comical. According to Palcy, Brando called her afterwards and confronted her about her decision, insisting that he liked the scene and wanted it to stay in this movie to show that the law meant nothing in South Africa. He allegedly threatened to slander her name throughout Hollywood, but she refused to back down and the scene was cut.

According to Marlon Brando in his memoirs, he felt the movie could have had a stronger story and that the director was out of her depth regarding the subject matter. Brando claimed he attempted to have the finished product re-edited but to no avail. The actor was disappointed by the film's disastrous performance at the box office.

When Marlon Brando's close friend Karl Malden saw the film, he wrote a letter to Brando that said, "I don't care if you are 50 pounds or 500 pounds. You are a freaking genius." Brando kept the letter until the day he died.

Subtitles: English & Portuguese

YouTube Link: https://youtu.be/Eh-Qpap1Ck4

Copyright owner is blocking in these territories

American Samoa, Guam, Marshall Islands, Micronesia, Northern Mariana Islands, Palau, Puerto Rico, U.S. Outlying Islands, U.S. Virgin Islands, United States

quinta-feira, 20 de abril de 2023

Dark Blue Almost Black (Azuloscurocasinegro) 2006

Jorge is a 25-year old janitor who is desperately searching for a better job. This undertaking is complicated by the fact that he takes care of his handicapped father who had a heart attack 7 years ago. Meanwhile, his jailed brother Antonio finds a girlfriend, Paula, who wants to get pregnant--then finds out he's infertile and asks Jorge to get Paula pregnant. While Jorge is considering this, his childhood sweetheart Natalia returns after several years. Meanwhile, Jorge's best friend Israel (nicknamed Sean) secretly photographs men visiting an erotic masseur to find out something unexpected.

Director & Writer

Daniel Sánchez Arévalo


Quim Gutiérrez, Raúl Arévalo, Marta Etura

Subs: Engish, Portuguese and Spanish.

YouTube Link:  https://youtu.be/8ppdVqylLek

Copyright owner is blocking in France

Normal , with Tom Wilkinson & Jessica Lange, 2003

In the countryside of the United States of America, Irma Applewood (Jessica Lange) and her husband

Roy Applewood (Tom Wilkinson) have been happily married for twenty-five years and they are model citizens in their community.

Roy brings Irma to meet Reverend Dale Muncie (Randall Arney), who is their pastor and friend, to tell that he is a woman trapped in a man's body and he will be submitted to a sex-change operation.

Now Roy has to face the deception of his wife and the intolerance of his colleagues, members of his church and his son Wayne (Joe Sikora). But Irma loves him and after the impact of the news, she understands and supports him with their teenage daughter Patty Ann (Hayden Panettiere) and Roy's boss Frank (Clancy Brown) that is their friend.


Jane Anderson


Jane Anderson


Tom Wlkinson, Jessica Lange, Hayden Panettiere.

Tom Wilkinson chose not to do any research into the subject of transgenderism, as he felt that a mid-Western farmer wouldn't know anything about the subject either.

The John Deere tractor company refused to have anything to do with the film. This was not so much to do with the fact that the character of Roy is sexually conflicted; instead they took exception to a scene in which Roy gets roughed up at work. The company didn't want to be associated in any way with worker-related violence.

Tom Wilkinson had to endure regular close shaves with a barber to convey the impression that estrogen was working on his face. He also had to shave all the hair off his arms, legs and chest.

Subs: English & Portuguese

YouTube Link: https://youtu.be/3H-PrfOEd7k

Copyright owner is blocking in Russia

Chunhyang (Chunhyangdyun) - 2000

Mongryong marries the beautiful Chunhyang without telling his father, the Governor of Namwon. When his father is transferred to Seoul, Mongryong has to leave Chunhyang and finish his exams. Chunhyang, being the daughter of a courtesan, is also legally a courtesan. She is beaten and imprisoned when she refuses to obey the new Governor Byun, as she wishes to be faithful to her husband. After three years, Mongryong passes his exam and becomes an emissary to the King. He returns to Namwon, disguised as a beggar, just before Chunhyang is to be flogged to death at the governor's birthday celebration.


Im Kwon-taek


Sang-hyun Cho Hye-yun Kang Kim Myung-gon


Hyo-jeong Lee Cho Seung-woo Seong-nyeo Kim

A "pansori" (on which this movie is based) was a four to six-hour long musical poem performed by a singer and a drummer.

Official submission of South Korea for the 'Best Foreign Language Film' category of the 73rd Academy Awards in 2001.

The bed scene between Chunhyang and Mongryong took two days to film because Cho Seung-woo and Hyo-jeong Lee, who had no experience at all, were shy. The two of them didn't know there was a love scene until they started filming, and they were scared, and director Im Kwon-taek gave them homework to come after seeing 'Yellow Hair'. Hyo-jeong Lee, a 16-year-old first-year high school student, said, "I was filming a love scene that was 1 minute and 30 seconds long, and I stayed up all night for two full nights. On a hot summer day, I was very upset with the director and I remember it very well."

Subtitles - English

YouTube Link: https://youtu.be/tJ6fIERdmnY

Copyright-protected content.The owner allows the content to be used on YouTube.

quarta-feira, 19 de abril de 2023

American Traitor - The Trial of Axis Sally (2021)

An American woman named Mildred Gillars broadcast Nazi propaganda during World War II. She was dubbed Axis Sally by the American GIs who simultaneously loved and hated her. The story plunges the viewer into the dark underbelly of the Third Reich's hate-filled propaganda machine, Sally's eventual capture, and subsequent trial for treason in Washington D.C. after the war


Michael Polish

Stars: Meadow Williams, Al Pacino, Carsten Norgaard, Thomas Kretschmann

Mildred Elizabeth Gillars nicknamed "Axis Sally" along with Rita Zucca, was an American broadcaster employed by Nazi Germany to disseminate Axis propaganda during World War II. Following her capture in post-war Berlin, she became the first woman to be tried for treason against the United States in March 1949.

By 1941, the U.S. State Department was advising American nationals to leave Germany and German-controlled territories. However, Gillars chose to remain because her fiancé, Paul Karlson, a naturalized German citizen, said he would never marry her if she returned to the United States. Shortly afterwards, Karlson was sent to aid the German war effort in the Eastern Front, where he was killed in action.

Subtitles: English

YouTube Link: https://youtu.be/Aq_ikOz9YME

Copyrighted content and blocked worldwide, except US.

Anne Rice Spinoff Series Set In Talamasca In The Works At AMC From John Lee Hancock

The Anne Rice Cinematic Universe is potentially getting bigger.

AMC Networks is developing a third series set in Rice’s literary world, following Anne Rice’s Interview with the Vampire and Anne Rice’s Mayfair Witches.

The series, which is set in the world of the Talamasca, a secretive organization featured in a number of Rice’s novels, comes from The Blind Side writer John Lee Hancock, who is attached as showrunner and writer.

The Talamasca, which is otherwise known as the Order of the Talamasca, features in both Rice’s The Vampire Chronicles and Lives of the Mayfair Witches. It is a secret society set up to research, watch over and keep track of the paranomrla including witches, spirits, werewolves and vampires. Rice calls them “psychic detectives”.

The development comes after both Anne Rice’s Interview with the Vampire and Anne Rice’s Mayfair Witches were renewed for second seasons. Interview with the Vampire is currently in production on its second season in Prague and Mayfair Witches is set to film its second season in New Orleans later this year.

They are both produced by AMC Studios and exec produced by Mark Johnson.

“The enthusiastic critical and fan reception to Interview and Mayfair is a great sign of what is yet to come in this immersive universe based on the works of Anne Rice,” said Dan McDermott, president of entertainment and AMC Studios for AMC Networks. “We’re excited to be in active development of the next installment in this growing franchise, written and to be showrun by the incomparable John Lee Hancock. The Talamasca is one of the most intriguing elements of Rice’s works and a connective thread through so many of her stories, the standalone and crossover potential for this third series is immense.”  

terça-feira, 18 de abril de 2023

Love, Marilyn - Documentary - 2012

Modern day celebrities interpret excerpts from memoirs written by people who knew Marilyn Monroe as well as her recently discovered personal journals and letters.

Of all the stars in Hollywood's history, no one had a more potent mix of glamor and tragedy than Marilyn Monroe. Through performed readings of her personal papers, this film explores the life and personal thoughts of this seminal movie star and how she achieved her dream with determination and audacity. Furthermore, through additional readings and interviews of her colleagues and acquaintances, we also follow her emotional self-destruction under the sexist pressures of Hollywood until her premature death in 1962.


Liz Garbus


F. Murray Abraham, Elizabeth Banks, Adrien Brody.

Norma Jeane, Marilyn Monroe's birth given name, got her stage name when an executive at Fox said if she wanted to be a star, she would have to change her name. He told her she resembled Broadway actress Marilyn Miller, which gave her the first name Marilyn. Monroe was her mother's maiden name.

Subs in English and Portuguese.

Video Link: https://youtu.be/wVsGBPcOn9Q

Copyright blocked all over the world, except for lucky USA and Canada.

segunda-feira, 17 de abril de 2023

Kaseki (The Fossil), by Masaki Kobayashi, 1975

A detailed look at a Tokyo business tycoon (played by Shin Saburi) given a diagnosis of terminal cancer who must now re-assess his life and values.

Originally made for Japanese television, The Fossil feels like Kobayashi leaving behind his anger at systems and confronting mortality, as does his main character. In a surprisingly close telling of a very similar tale to Kurosawa's Ikiru, Kobayashi confronts a life of workaholism that suddenly and definitively will come to an end.

Director Masaki Kobayashi

Stars: Shin Saburi, Mayumi Ogawa, Keiko Kishi

Official submission of Japan for the 'Best Foreign Language Film' category of the 47th Academy Awards in 1975.

Subs only in English.

Video link: https://youtu.be/-018xPVd3F8

Copyright-protected content found. The owner allows the content to be used on YouTube.

The Four Feathers (Zoltan Korda, 1939)

This movie is based on the 1902 adventure novel of the same name by British writer A. E. W. Mason. This is the fourth version out of six so far, including one TV movie. The most recent was made in 2002 with Heath Ledger, a version I would like to post here on the blog for comparison with the original one, but the movie is totally copyrighted.

Resigning his commission on the eve of his unit's deployment against Egyptian rebels, a British officer seeks to redeem his cowardice by secretly aiding his former comrades, disguised as an Arab. When his unit is overwhelmed and captured by the rebels, the hero finds an opportunity to return the "feathers" of cowardice sent to him by his former comrades by freeing them.

Director Zoltan Korda

Stars: John Clements, Ralph Richardson, C. Aubrey Smith, June Duprez.

The action scenes, photographed by Osmond Borradaile, were not only filmed where the historical battles had taken place, but also included among the many extras, people who had witnessed or participated in the fighting more than forty years earlier. These battle scenes further benefitted from Director Zoltan Korda's expertise at large-scale action and his early experience as a cavalry officer.

The sailing ships pulled by hordes of Sudanese along the Nile were constructed specially for the production in exact period detail at great cost.

Producer Alexander Korda spared no expense in this production, shooting in Technicolor, and doing most of the exteriors on-location in the Sudan.

For historical accuracy, Zoltan Korda hired a military Technical Advisor, Brigadier Hector Campbell, and had him drill the actors and extras exactly the same as soldiers would have been in the period of this movie's setting.

The Korda brothers (Alexander, Vincent, and Zoltan) had a working relationship and method that sometimes agitated their English cast and crew, who were not used to sudden, loud arguments conducted in Hungarian and halting English peppered with expletives. John Clements recalled sitting in Alexander's office discussing a point of production when suddenly the three brothers broke into a violent screaming match. "Zolly (Zoltan) started picking things up off the table and throwing them on the floor, and I really thought they were going to kill each other," Clements said. Just as suddenly as it began, however, the fight stopped "and everybody embraced, including me, and we all had a nice cup of tea, and that was that."

This movie was shot partially on-location on the East bank of the Nile where the historical incidents depicted in the movie occurred in 1898.

Although he was a stickler for historical fidelity, Director Zoltan Korda was not above stretching the truth for the sake of spectacle. As shooting was about to begin on the lavish ballroom scene, he went into a fit over the fact that the officers were all clad in blue uniforms. Technical Advisor Brigadier Hector Campbell, informed him that this was the proper dress for a private party in the late 1800s. "But this is Technicolor!" Korda roared, and the uniforms were changed to bright red.

To prove he can read braille, Durrance (Sir Ralph Richardson) scans with his fingers and reads out a speech spoken by Caliban from Act III, scene ii of Shakespeare's "The Tempest", before admitting he "knew that bit by heart anyway". Richardson played Caliban in the famous Old Vic production of "The Tempest" in 1930, which starred Sir John Gielgud as Prospero.

Alexander Korda decided not to direct, because his last two directorial efforts, "Os Amores de Don Juan (1934)" and "Rembrandt (1936)," had not been commercial successes. He had also lost considerable money on the aborted I, Claudius, a movie that was well into production when it was abandoned. On top of that, the pressure of running the large, recently purchased Denham Studios made it all the more appealing to turn to a proven success like Mason's story and to concentrate on producing, while brother Zoltan Korda directed.

The "khalifa's" army is preceded by a black banner and green banners. The green banners are associated with 'Alí. The black banner is meant to represent the promised one who, according to tradition was to bear such a flag. This fictional "khalifa" represents an actual person - the self-styled Mahdi, or promised one - who did use such a banner to promote his claim.

Trivia thanks to IMDb.

Subs: English & Portuguese

Video Link: https://youtu.be/Rk3ThZnFBXA

Copyright owner is blocking in these territories

Canada, Northern Mariana Islands, Puerto Rico, Samoa, U.S. Outlying Islands, U.S. Virgin Islands, United States

The Sicilian (Michael Cimino, 1987)

Giuliano robs from the rich conservative landowners to give to the poor, serf-like peasants, who in turn hail him as their savior. As his popularity grows, so does his ego, and he eventually thinks he is above the power of his backer, Mafia Don Masino Croce. The Don, in turn, sets out to kill the upstart by convincing his cousin and closest advisor Pissciota to assassinate him.

Directed by Michael Cimino

Screenplay Mario Puzo, Steve Shagan, Gore Vidal

Stars Christopher Lambert, Terence Stamp, Joss Ackland, John Turturro, Barbara Sukowa and Aldo Ray as Don Siano of Bisacquino.

The novel is a spin-off of The Godfather (set during Michael's exile in Sicily), however all references to the Corleones are omitted from the film.

After location work was finished, Michael Cimino took the footage straight to his editing room to begin cutting. Cimino did not report any of his progress on the editing as the months passed until he delivered a 150-minute cut of the film and declared that he was done. Under his contract with the producers, Cimino had the right to final cut as long as the film was under 120 minutes long. Cimino insisted that no more cuts could be made and pressed David Begelman and Bruce McNall to present the current version to 20th Century Fox, the film's domestic distributor. Before viewing the film, the Fox executives said to the producers that the film was so long that it limited the number of showings a theater could present each day. It had to be trimmed or Fox wouldn't release it.

When Begelman and McNall relayed Fox's ruling to Cimino, he exploded. "I've been cutting for six months. There's nothing more to take out!" he shouted. The producers responded that there had to be a way to tell the story in 120 minutes. Cimino answered, "Fine! You want it shorter, you got it." A few days later, Cimino delivered a new version of the film in which all of the action scenes were cut out. "In the script a big wedding scene in the mountains is followed by an attack on the wedding party." wrote McNall. "In what we saw the wedding was followed by a scene at a hospital, where all the people in nice clothes were being treated for their wounds. He just cut out the battle." Begelman did not wait till the film ended to get on the phone and immediately called Cimino. Cimino said that his contract allowed him final cut in a 120-minute film and what he gave them qualified.

David Begelman and Bruce McNall discovered that the film was over budget and behind schedule. The problems involved mostly hang-ups with personnel and equipment, nothing on the scale of Michael Cimino's Portal do Paraíso (1980). One exception was some low-level Mafia men who controlled certain locations and union workers. Cimino suggested that Begelman and McNall meet with Mafia men to overcome the impasse. Upon meeting them in a restaurant off the main piazza, the producers discovered that the Mafia men wanted to appear in the film. "Once we all understood," wrote McNall, "the fix was easy. There were plenty of little roles for walk-ons and extras. And if a real role didn't exist, we could pretend to involve some of the guys and throw them a day's pay." Once the problem was solved, Cimino had access to the countryside and the local labor pool.

Michael Cimino wanted Christopher Lambert for the lead role and David Begelman was concerned about a French actor starring in a movie about an Italian hero in an English-speaking movie.

The role of Prince Borsa was offered to Dirk Bogarde.

Gore Vidal did some uncredited rewrite work on the film. Vidal sued both screenwriter Steve Shagan and the Writer's Guild of America to receive screenplay credit. "I was defrauded of my work." Vidal eventually won the suit against WGA. In the DVD commentary of O Ano do Dragão (1985), Michael Cimino said he learned a lot from working with Vidal.

Subs: English, Portuguese and Spanish.

Video Link: https://youtu.be/jfyy0rl44SQ

Copyright-protected content found. The owner allows the content to be used on YouTube.

‘Barry’ Season 4 Premiere: Bill Hader On Series’ Endgame, Potential For Spin-Off


SPOILER ALERT: The following story contains details from the first few episodes of Barry Season 4. (HBO MAX)

The end is nigh for Barry — but can the same be said for Bill Hader’s hitman, Barry Berkman? This is the big question looming over HBO’s dark comedy, which has just returned for its fourth and final season, teasing Chechen gangster NoHo Hank’s (Anthony Carrigan) decision to take the hitman out in the second of two new episodes.

This marks a major reversal on the part of Barry’s longtime ally, who in Episode 1 was plotting to free him from prison. Barry’s there, of course, for the Season 1 murder of detective Janice Moss (Paula Newsome). And after being reported to the authorities by his former acting teacher Gene Cousineau (Henry Winkler), he mentally unravels, experiencing hallucinations, vivid childhood flashbacks, and delusionally optimistic visions of his future. Barry also, at one point, flies into a self-destructive rage, rubbing his “cop killer” reputation in the face of a prison guard and getting what is seemingly his wish, of being beaten to a pulp.

Elsewhere, Cousineau meets with a Vanity Fair reporter to detail his (supposedly) heroic takedown of Berkman in the form of an on-stage monologue. And after hiding out for a bit in Santa Fe, Hank and his boyfriend Cristobal (Michael Irby) hatch a plan to capitalize on a “sand shortage,” in order to move out of the shadows of the criminal underworld, and into the light as more legitimate businessmen.

After learning that Barry has been arrested for murder, Sally has a mental breakdown, being pushed further toward the brink by the recognition that her once-promising acting career is over, due to both her links to Barry and her tirade against one-time assistant Natalie (D’Arcy Carden), which was recorded and went viral in Season 3. She begins working as an acting coach, at Cousineau’s urging. And while she declines to speak with Barry when he first calls her from prison, she later meets with him in person — admitting, “I feel safe with you,” when he asks why she hasn’t turned her back on him for good.

When Barry encounters Fuches (Stephen Root) in prison in Episode 401, he surprises his criminal cohort by apologizing for his part in their toxic dynamic. “You were right about Mr. Cousineau. I never should have trusted him, and I never should have taken that acting class,” he says. “If I hadn’t have tried to understand myself, we wouldn’t be here.” The moment of reconciliation is cut short, however, when Barry double-crosses Fuches, going to the FBI and ratting on every criminal he knows in exchange for an escape to witness protection with a person of his choice. It’s at this point that Fuches calls Hank, who must finally accept what Cristobal has long suspected — that Barry doesn’t care about Hank, and never did.

Hader directed all eight Season 4 episodes of Barry, which he co-created with Alec Berg. Here, the 3x Emmy winner discusses what’s to come in the show’s six remaining episodes, including on-camera and audio-only cameos, as well as being roasted on set by filmmaker Guillermo del Toro, the prospect of future Barry spin-offs, his desire to make a movie next, and a cameo in Ari Aster’s recently released A24 horror-comedy Beau Is Afraid, which goes wide next weekend.

DEADLINE: How much of the story of Barry Season 4 did you have in mind all the way back at the show’s inception?

BILL HADER: I will say that the very, very ending of the very last episode, there’s something that happens in the finale that I thought of during Season 2…How we got there was very different. But mostly, what’s been so fun about writing this is that each step of the way, the characters are telling you where they want to go, where they need to go. Anytime we’d try to force it into a certain direction, it just wouldn’t want to go that way.

DEADLINE: You’ve spoken about going back and tinkering with Season 3 scripts when production was shut down at the start of the pandemic. And presumably, any changes made rippled forward to inform your S4 endgame. Were there any aspects to the storytelling of these opening episodes that evolved over time?

HADER: I’m trying to think how to say something without ruining anything…A big part of obviously ending Season 3, we always write ourselves into a corner. He’s caught at the end of Season 3, and then the beginning of Season 4, it’s kind of like, “He’s in jail. What do we do?” So, I think it was more of just, what would they do?

DEADLINE: Nailing the ending of a series is obviously tough, particularly when it’s one as beloved as Barry. How much pressure have you felt to stick the landing?

HADER: Well, it does get down to, what do we want to see? We, meaning the people writing it and making it. You’re with the journey, and it’s kind of like, “Where does this story want to go?” As opposed to, “Oh, man. We’ve really got to stick the landing.” I think the only way I can stick the landing, for me personally, is if you’re just true to the story. And if it seems like it’s true to the story, then that works.

I had moments where I did write things, and we actually filmed some things that were much more “fan service.” Like, “Oh, this is something the fans will like to see.” And then you would get into the edit, or you’d read it and go, “Oh man, this is just glaringly wrong. It’s a different show for one scene.” And so you would reshoot it or cut it. And I really thank people like Duffy Boudreau and Liz Sarnoff, the writers, but also our editors, Ali Greer and Franky Guttman, for pulling that sh*t out and saying, “This is kind of lame. Why are we doing that?” [Laughs] It’s like, “You should write this like there aren’t fans. Just write it for the story.” You know, that’s not them saying that to me; that’s me saying it to myself.

You know, I do transcendental meditation, and when you meditate, you’re supposed to have a mantra. And that sometimes becomes my mantra, which is like, “Don’t do it for what you think people want to see. Do what is right for the story.”

DEADLINE: Bearing in mind what you’re saying about keeping the focus on your specific story, it seems like it would be tough to find your own singular way through to the end of the antihero’s journey, as tonally distinct as Barry is, given how much storytelling of the sort we’ve seen on television in recent years. Did you ever find yourself thinking about the approach other crime series have taken in winding down, in looking for an original angle?

HADER: I think the show’s done a pretty good job. I mean, I think initially it started out, and you know, people called it Breaking Good, which is very fair. But I like to think that as it went on, it kind of took on new [dimensions]. Midway through the [final] season, it has a thing that I’m interested to see what people think. That, for us, was one of the first things we hit on when we sat down to write Season 4, that that would happen. But I hope that it has its own kind of style now and has its own voice. The first season, it’s like a first album, and you’re like, “Wow, they really like Nirvana.” [Laughs] Or whatever. And then now, hopefully it’s its own thing.

DEADLINE: Talk a bit about Barry’s evolving dynamic with Fuches in this final batch of episodes. We’re hit with one reversal after another, just in the episodes we’ve seen…

HADER: You know, there was actually about four more reversals? [Laughs] That was one of the early notes when I screened it for the writers and some of our former editors. “Hey man, there’s like too many turns here.” [Laughs] So, it was kind of going back and cutting stuff, pulling stuff out.

DEADLINE: It was nice, though, to see moments of such vulnerability and intimacy between these characters who have so much history, and yet have constantly been stabbing one another in the back.

HADER: Yeah. Well, Fuches, to me, has always loved Barry. This is giving something away, but you do learn earlier in the season that Fuches has known Barry since he was a kid. And some people, in doing these interviews, felt that Fuches has been grooming him since he was a kid. But I don’t think that’s what’s happening. I think Barry was his best friend’s kid, and he just thought he was a cool, sweet guy, and they genuinely had a connection. So, I think there is more of a manipulative father-son thing going on there, but it’s weirdly born out of real love.

DEADLINE: Sally’s arc is quite compelling, as she processes the news that her boyfriend has been arrested on murder charges. After telling him over the phone that she never wants to talk to him again, she comes to visit him in prison and makes a surprising admission: “I feel safe with you.” Why?

HADER: I talked to Sarah Goldberg early in the season and said, “She finds out this stuff about Barry and she’s clearly horrified. And [there’s] also from her past, what that means.” And then she also has these feelings Sarah and I talked about. It’s like, he makes her feel like a star. You know, after Season 1, when she’s like, “Do you think I’m going to be a star?” he’s like, “Yeah!” He’s never met an actress before, so he’s like, “Obviously!” But in talking about it with Sarah, I said, “I also think he makes her feel safe.” And the light bulb just went off in my head. “That’s perfect.” And that applies to everybody. [The] motivation is fear, and wanting to be held and be safe, and I thought that was perfect. So, Sarah deserves some credit for that idea.

DEADLINE: What would you say about the dark road NoHo Hank seems to be going down?

HADER: I mean, he’s changed from what happened to him at the end of [Season] 3. He actually had to perpetrate some violence, for the first time possibly in his life, and it’s changed him, and made him kind of have a new understanding for Barry, and a new, weird connection to Barry that hopefully, you can kind of see how it mirrors it through the whole season.

DEADLINE: What have you been thinking about in wrapping the story of Gene Cousineau (Henry Winkler)?

HADER: If you work in Los Angeles long enough and you work in the entertainment industry, you’ll meet a lot of Gene Cousineaus. [Laughs] And they’re nice people. But…

DEADLINE: You can tell that he, like Barry, does want to be good, even if he can’t quite manage it.

HADER: Yeah. They both want to be good, but it’s that thing of, can you escape your nature and who you are? You’re trying to do something, but there’s just part of you that can’t help but do something. And can you change that? I think for him, it’s narcissism. I mean, there’s a moment where he’s literally standing on a stage in the second episode and says, “I don’t want to be bothered anymore. I really want to be left alone.” [Laughs] And he’s saying it in a spotlight.

DEADLINE: You’ve attracted some pretty sensational guest stars this season — I won’t spoil who…

HADER: Yeah. We can say Guillermo del Toro’s in the third episode, and he’s very funny. He did a great job and he brought his own cane, which was great. He had two different takes on the character, and they were both really interesting. And he brought his wonderful wife Kim [Morgan] with him, and it was just really sweet. Then, the other ones, I’m not going to mention. They’re more of a surprise, but it’s really fun. And then one, actually, you won’t see them, but you will hear them. There’s two people that you hear in a later episode, voices that you might recognize.

DEADLINE: Tell us more about how Guillermo del Toro came to be on the show, and what it was like having this master filmmaker on your set.

HADER: It was good. He was f***ing with me a little bit. He was like, “Are you really going to block it like this?” [Laughs] I was like, “Yeah, I am.” And he’s like, “Really? That’s it? Okay…” No, he was really funny, and we’re all friends. I’m friends with him, and I’m friends with Alfonso Cuarón, and Alfonso was texting me, “Guillermo says you don’t know how to direct.” [Laugh] They were just f***ing with me while I’m shooting with him. And I’m like, “Oh my god.” Guillermo was like, “I never said that. No, no, no. He’s being an assh*le.” But no, it was very fun. I was just really impressed with him.

And how it came about, actually, was he said, “I’d love to be in your show,” and I went, “Oh, yeah.” Then, I wrote a part for him and said, “Hey, man. I wrote a part for you. The character’s named Toro.” And I think he was a bit surprised. He went, “Really?” And I go, “Yeah!” And he texted me back, “Are you serious?” [Laughs] And I was like, “Yes, you asked me to. I did it.” And he said, “Oh, well when do you shoot? When is it?” He got really kind of excited, and then next thing I know, Tiffany [Hasbourne], who’s our costume designer, came up and went, “Uh, so Guillermo has his own cane.” And she showed me pictures. “Here’s the costume he prefers,” and that’s the one we went with. And I was like, “Oh my god, there he is.” He went to a fitting, and he did it. He was great.

DEADLINE: Do you see the universe of Barry as one you might look to explore further — perhaps with a prequel à la Better Call Saul? Or are you ready for a fresh start?

HADER: I think the way my brain works, I don’t know if that is interesting, but I never say never to anything. Because if anything, I’ve learned from my career, you have no idea what will happen. I moved out to L.A. in 1999 to be a filmmaker, and then I ended up on Saturday Night Live, you know what I mean? You have no idea what will happen to you. All I want to do is make a movie. I haven’t made a movie yet, so I think that’s why Barry, especially the last two seasons, feel like long movies… So, I don’t know. I could say today it doesn’t feel like it, but then a couple years from now go, “Oh, you know what? That could be really interesting.”

DEADLINE: Will getting a movie made will be your primary focus looking ahead?

HADER: Yeah. I’ve written [a project] with Duffy Boudreau, one of the writers on the show. He’s my best friend from Tulsa. We’ve known each other since we were like 18, so you need that on set. You need your friend from Oklahoma who goes, “Yeah, man. That sucks.” [Laughs] “You should go again.” Or he watches a cut and is like, “Well, that just seems corny, man.” [Laughs] You need that guy who really has no skin in the game, has seen as many movies as I have and has read more books than I have, and just acts honestly, but then comes up with great stuff. We wrote a movie that I’d like to make at some point, which is kind of like what everybody usually does. They try to make a little, small thing. And then I have two other ideas. One is kind of hard to describe, and then the other one is Barry-like in tone, but instead of a crime thing, it’s like a horror thing.

DEADLINE: Do you see yourself starring in these projects?

HADER: The horror one, I would star in. The other two, as of now, I would not be in. But I’ve done this before, where I’ve talked about things, and then once it gets out there, you’re almost really jinxing it. So, we’ll see. Always, the thing you’re concentrating on is the thing that kind of goes well, and then this thing over here that you’re half thinking about, that’s the thing that [takes off]. I mean, that’s what happened with Barry.

DEADLINE: You mentioned some upcoming voice cameos in Barry — you actually have one of your own, of sorts, in Ari Aster’s A24 horror-comedy Beau Is Afraid. How was the shooting experience?

HADER: So, I’m the UPS guy on the telephone. I was in my house in Los Angeles with my assistant Alyssa [Donovan], and she connected me to Montreal. So, then I’d pick up the phone. I’m like, “Hello?” And it’s Ari Aster going, “Hey, Bill. All right, so you’ve got your script? Okay, so here’s Joaquin.” And then I’m on the phone with Joaquin Phoenix, and I’m just sitting in my living room in L.A., and we did that for like two hours. Just did a bunch of takes and tried a bunch of different stuff. Because Ari is like, “This is all one shot.” And I just did it a lot. And my assistant was like, “What the f**k are you doing?” [Laughs] “You’re just crying and freaking out…” Because we did some takes that were really wild, really big and intense. Then, I just remember feeling really exhausted and Ari coming on and going, “Hey, man. It’s so funny, Bill.” And I was like, “Funny? I can’t see straight. I’ve been crying.” But they just thought it was hilarious.

DEADLINE: Have you seen the film yet?

HADER: Yeah, I saw it. I took Ali Wong and Zach Cregger, who directed Barbarian. And my friend Kyle Reiter and Duffy Boudreaux and Allyssa, and then John Dwyer from the Osees, which is one of my favorite bands. We all went to a private screening of it and just were completely blown away.

Source: Deadline

domingo, 16 de abril de 2023

Evelyn (Bruce Beresford, 2002)

This movie is based on the true story of the Doyle family in 1950s Ireland. Desmond Doyle is abandoned by his wife who runs off to Australia and leaves him with their three small children. He tries his best to continue supporting them singing in the pub and doing painting here and there, only to have the government and child services remove his children. stating there has never been a precedent of a father raising his children without a mother in the picture. He goes to court, loses, and is told he cannot appeal his case. He then happily finds a retired lawyer who has taken on constitutional law successfully in the past, who willingly helps him take his case to The Supreme Court.


Bruce Beresford

Stars  Pierce Brosnan, Julianna Margulies, Aidan Quinn.

Subs: English, Portuguese, Spanish.

Video Link:  https://youtu.be/kNusBMURa04

Copyrighted and blocked in these countries:

Algeria, American Samoa, Andorra, Belgium, Benin, Burkina Faso, Burundi, Cameroon, Central African Republic, Chad, Comoros, Congo - Brazzaville, Congo - Kinshasa, Côte d’Ivoire, Djibouti, France, French Guiana, French Polynesia, French Southern Territories, Gabon, Guadeloupe, Guam, Guinea, Luxembourg, Madagascar, Mali, Marshall Islands, Martinique, Mauritania, Mauritius, Mayotte, Monaco, Morocco, Netherlands, New Caledonia, Niger, Northern Mariana Islands, Palau, Puerto Rico, Réunion, Rwanda, Senegal, Seychelles, St. Barthélemy, St. Martin, St. Pierre & Miquelon, Switzerland, Togo, Tunisia, U.S. Outlying Islands, U.S. Virgin Islands, United States, Wallis & Futuna

Titus, with Anthony Hopkins & Jessica Lange (1999)

War begets revenge. Victorious General Titus Andronicus (Sir Anthony Hopkins) returns to Rome with hostages: Tamora (Jessica Lange), Queen of the Goths, and her sons. He orders the eldest hewn to appease the Roman dead. He declines the proffered Emperor's crown, nominating Saturninus (Alan Cumming), the last ruler's venal elder son. Saturninus, to spite his brother Bassianus (James Frain), demands the hand of Lavinia (Laura Fraser), Titus' daughter. When Bassianus, Lavinia, and Titus' sons flee in protest, Titus stands against them and slays one of his own. Saturninus marries the honey-tongued Tamora, who vows vengeance against Titus. The ensuing maelstrom serves up tongues, hands, rape, adultery, racism, and Goth-meat pie. There's irony in which two sons survive.


Julie Taymor

Based on Shakespeare (Titus Andronicus) and adapted by Julie Taymor

Stars: Anthony Hopkins, Jessica Lange, Jonathan Rhys-Meyers, Matthew Rhys, Angus MacFadyen

Writer, producer, and director Julie Taymor used anachronistic props and clothes throughout this movie (chariots, tanks, swords, and machine guns) because she wanted to symbolically depict 2,000 years of warfare and violence.

None of the characters wear green at any point during this movie. The only green seen in the whole movie are the vegetables in the kitchen, and the green of the grass and leaves during the forest scenes. Julie Taymor felt that green suggests safety and comfort, and told costume designer Milena Canonero that costumes could only be colored metallic, red, blue, gray, black, or white.

Writer, producer, and director Julie Taymor fought against an NC-17 rating for this movie, but finally agreed to make cuts in the Roman orgy scene, in order to obtain an R-rating. None of the gruesome violence, however, was considered inconsistent with an R-rating. She said in an interview, that she was "one buttock away from an NC-17," even there was no graphic sex, just plenty of naked bodies.

Writer, producer, and director Julie Taymor conceived of Saturninus (Alan Cumming) as being from the 1930s, and rooted in Fascism, while Bassianus (James Frain) came from the 1950s, and was concerned with conservatism. This is reflected in the cars in which they travel, and the clothes their supporters wear during the political speeches.

Writer, producer, and director Julie Taymor and Sir Anthony Hopkins disagreed about Titus' mental state throughout production, with Taymor feeling that Titus is feigning a kind of madness, but is in fact mad himself, but with Hopkins feeling that Titus is feigning madness, and is in fact totally sane. They never resolved their differences and on their respective commentaries on the DVD, they mentioned their differing interpretations.

Subs: English, Portuguese and Spanish.

Movie Link: https://youtu.be/_Skx7quGbQI

Copyright owner is blocking only in Russia

His Most Serene Highness - Su alteza serenísima - (2001)

From legendary director Felipe Cazals, a historical drama of the last days of General Antonio Lopez de Santa Anna. Despite defeating the Tex...