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Regia: Salvatore Maira
Anno di produzione: 2007
Durata: 90'
Tipologia: lungometraggio
Genere: drammatico
Paese: Italia
Produzione: Home Production srl
Formato di proiezione: 35mm, colore
Ufficio Stampa: Morgana s.r.l. / Patrizia Cafiero & Partners
Vendite Estere: Scalpel
Titolo originale: Valzer
Altri titoli: The Waltz - Valse - Vals

Sinopsis: Follows two people whose lives indelibly change. In the service quarters at the lower floors of a great hotel, a young maid and a man meet in a situation which breaks all certainties and identities. This is the story of Assunta, of Lucia and of her father--a father who believes he will meet his daughter after twenty years of absence and finds instead an unknown woman who has taken her identity. Simultaneously, at the higher floors, the great managers of football mirror themselves in the cynicism and greed of their actions while they try to understand and stem the storm unleashed by the scandal in which they are part of. The two stories which flow side by side, will suddenly meet in a dramatic short circuit. 
Inglourious Basterds
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Inglourious Basterds

is a 2009 war film written and directed by Quentin Tarantino and released in August 2009 by The Weinstein Company and Universal Pictures. It was filmed in several locations, among them Germany and France, beginning in October 2008. The film, set in German-occupied France, tells the story of two plots to assassinate the Nazi political leadership, one planned by a young French Jewish cinema proprietress, the other by a team of American soldiers called the "Basterds".

Tarantino has said that despite it being a war film, Inglourious Basterds is a "spaghetti western but with World War II iconography". In addition to spaghetti westerns, the film also pays homage to the World War II "macaroni combat" sub-genre (itself heavily influenced by spaghetti-westerns).

Inglourious Basterds was accepted into the main selection at the 62nd Cannes Film Festival in competition for the prestigious Palme d'Or and had its world premiere there in May. It was the only U.S. film to win an award at Cannes that year, earning a Best Actor award for Christoph Waltz.

Directed by     Quentin Tarantino
Produced by     Lawrence Bender
Written by     Quentin Tarantino
Starring     Brad Pitt, Christoph Waltz, Michael Fassbender, Eli Roth, Diane Kruger, Daniel Brühl, Til Schweiger, Mélanie Laurent
Cinematography     Robert Richardson
Editing by     Sally Menke
Studio     A Band Apart, Zehnte Babelsberg
Distributed by     The Weinstein Company (USA)
Universal Pictures (non-USA)
Release date(s)   
Cannes Film Festival:
May 20, 2009
United Kingdom:
August 19, 2009
Australia, Germany, New Zealand:
August 20, 2009
Canada, United States:
August 21, 2009
Running time     152 min.
Country     United States, Germany
Language     English, French, German, Italian


The title of the film was inspired by director Enzo Castellari's 1978 Dirty Dozen-like war film The Inglorious Bastards. Though Tarantino acknowledges that both the former and the latter were inspirations for the film, and there are noticeable similarities, he stresses that Basterds is an original work and not a remake of the 1978 film. To date, there has been little explanation of the title spelling (the correct spelling would be "Inglorious Bastards"). When asked, Tarantino would not explain the u in Inglourious and said, "But the 'Basterds'? That's just the way you say it: Basterds." He stated in an interview that the misspelled title is "a Basquiat-esque touch."He further commented on The Late Show with David Letterman that "Inglourious Basterds" is the "Tarantino way of spelling it."


In German-occupied France in 1941, Colonel Hans Landa of the SS and SD, nicknamed "The Jew Hunter", has the Jewish Dreyfus family killed, with the exception of teenage Shosanna, whom Landa allows to escape. In the United States, 1st Lieutenant Aldo Raine recruits a team of eight Jewish-American soldiers to parachute into France as civilians prior to the Normandy landings. Their mission is to cause panic and havoc within the Third Reich by savagely killing as many German servicemen as possible, including a "take no prisoners" attitude and scalping their victims. "The Basterds", as they come to be known, develop a modus operandi involving leaving one soldier alive to spread news of the terror of their attacks; Raine carves a Nazi Swastika into at least one of these survivors with a Bowie knife so that he will be universally identifiable as a Nazi after the war.

Four years after her family was murdered, Shosanna has assumed a new identity and operates a small cinema in Paris. She meets Frederick Zoller, a German marksman and war hero whose exploits are to be celebrated in a forthcoming propaganda film. Although she resists his advances, the smitten Zoller, who is also a film fanatic, convinces Nazi propaganda minister Joseph Goebbels to hold the new film's premiere at Shosanna's theater. She realizes that the presence of several high-ranking Nazi officials provides an opportunity for revenge, and with the help of her projectionist boyfriend Marcel, she resolves to burn down the cinema during the premiere. The British have also learned of the premiere and they dispatch former German-film critic Lieutenant Archie Hicox to Paris to lead an attack on the event. Upon his arrival, he meets up with the Basterds, as well as German film actress and double agent Bridget von Hammersmark. Their meeting at a bar goes awry when a Gestapo major realizes that Hicox is not German. A subsequent shootout leaves everyone in the bar, including Hicox and the two German-speaking members of the Basterds (Stiglitz and Wicki), dead and Hammersmark wounded. Raine and the remaining three Basterds, Donny, Omar and Utivich, interrogate Hammersmark and learn that Adolf Hitler will also be attending the premiere. They devise a plan wherein Raine, Donny and Omar will pose as Hammersmark's Italian escorts at the premiere. Landa, acting as head of security for the premiere, investigates the bar shootout and finds evidence that Hammersmark was there.

At the premiere, Landa questions Hammersmark privately, making her try on one of her shoes which she had left behind at the bar. Realizing that Hammersmark is working with the Basterds, he kills her and has Raine and Utivich arrested. He makes a deal with them, after speaking with their commanding officer, to be granted immunity from war crimes prosecution among other things, in exchange for allowing Donny and Omar, still at the cinema, to kill the Nazi officials. During the film, Zoller goes up to the projectionist's booth to see Shosanna, angrily protesting her rejections of him. She shoots him multiple times, but he manages to shoot her dead before succumbing to his own wounds. The film is soon interrupted by a pre-recorded close-up of Shosanna informing the audience that they are about to be killed by a Jew, at which time Marcel lights 350 reels of flammable nitrate film behind the screen. At this point, the film is revealed to be set in an alternate reality, as Donny and Omar ambush Hitler and Goebbels in their box and shoot them dead, subsequently firing into the crowd until dynamite which they brought with them detonates and incinerates the theater entirely. Some time later, Landa and his driver take Raine and Utivich to the American lines where Landa surrenders to Raine and hands over his weapons as part of his deal. Then Utivich handcuffs Landa, Raine kills Landa's driver, Utivich scalps the driver, and Raine carves a swastika into Landa's forehead with his Bowie knife, proclaiming it to be his masterpiece.
The Battle of Algiers
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The Battle of Algiers

(Italian: La battaglia di Algeri) is a war film released in 1966. It is based on occurrences during the Algerian War (1954–62) against French colonial rule in North Africa. It was directed by Gillo Pontecorvo.

Directed by     Gillo Pontecorvo
Produced by     Antonio Musu, Saadi Yacef
Written by     Gillo Pontecorvo, Franco Solinas
Starring     Brahim Hagiag, Jean Martin, Saadi Yacef
Music by     Ennio Morricone, Gillo Pontecorvo
Cinematography     Marcello Gatti
Editing by     Mario Morra, Mario Serandrei
Distributed by     Rizzoli
Release date(s)     September 20, 1967 (U.S.)
Running time     125 min.
Country     Algeria, Italy
Language     French, Arabic

Subject matter

The Battle of Algiers depicts an episode of the war, occurred in Algiers, capital city of French Algeria, that reconstructs events occurred in the city between November 1954 and December 1960, during the Algerian War of Independence.

The narrative begins with the organization of revolutionary cells in the Casbah. Then civil war between native Algerians and European settlers (pied-noirs) in which the sides exchange acts of increasing violence, leading to the introduction of French army paratroopers to hunt the National Liberation Front (FLN). The paratroopers are depicted as winning the battle by neutralizing the whole of the FLN leadership either through assassination or through capture, however, the film ends with a coda depicting demonstrations and rioting for independence by native Algerians, suggesting that in France having won the Battle of Algiers, She has lost the Algerian War.

The ruthless tactics of the FLN guerrilla insurgency and the French counter insurgency, and the uglier incidents of the war, are shown. Colonizer and colonized commit atrocities against civilians. The FLN commandeer the Casbah via summary execution of native Algerian criminals and other (considered) traitors, and applied terrorism to harass the civilian French colonials. The French colonialists resort to lynch mobs and indiscriminate, racist violence against the natives to hand. Paratroops routinely torture, intimidate, and murder in combating the FLN insurgents.

Pontecorvo and Solinas have several protagonists, based on historical war figures. The story begins and ends from the perspective of Ali la Pointe (Brahim Hagiag), a petty criminal who is politically radicalized while in prison, and is then recruited to the FLN, by the (fictional) military commander El-hadi Jafar, (Saadi Yacef), also corresponding to the eponymous historic personage.

Lieutenant-Colonel Mathieu, the paratroop commander, is the principal French character. Other characters are the boy Petit Omar, a street urchin who is an FLN messenger; Larbi Ben M'hidi, a top FLN leader, is the film’s political rationale for the insurgency; Djamila, Zohra, and Hassiba, three FLN women urban guerrillas who effect a revenge-attack. Moreover, The Battle of Algiers features thousands of Algerian extras; director Pontecorvo’s intended effect was the “Casbah-as-chorus”, communicating with chanting, wailing, and physical effect.

Production and style

The Battle of Algiers was inspired by Souvenirs de la Bataille d'Alger, by Saadi Yacef, the campaign account of an FLN military commander. The book, written by Yacef, while a prisoner of the French, was FLN morale-boosting propaganda for militants. After independence, Yacef was released and became part of the new government. The Algerian government backed a film of Yacef’s memoir; exiled FLN man Salash Baazi approached the Italian director Gillo Pontecorvo and screenwriter Franco Solinas with the project.

Solinas’s first draft screenplay, titled Parà, is the story told from the perspective of a disenchanted French paratrooper, Paul Newman, he and Pontecorvo hoped. Baazi rejected that idea, because it relegates Algerian suffering to the backdrop. Moreover, Yacef wrote his own screenplay, which the Italians producers rejected as too-biased towards the Algerians. Although sympathetic to Algerian nationalism, the Italian businessmen insisted on dealing with events from a neutral perspective. The final screenplay of Battle of Algiers has an Algerian protagonist, and depicts the cruelty and suffering of French and Algerian. Apocryphally, Solinas began the script with jotted-down “flashes of ideas” on a blackboard, which became scenes, thus, the episodic feel.
Despite its base in true events, The Battle of Algiers uses composite characters, and changes the names of certain persons, e.g. “Colonel Mathieu” is a composite of several French counterinsurgency officers, especially Jacques Massu. Accused of portraying him too-elegant and -noble, screenplay writer Solinas denied it is intentional; the Colonel is “elegant and cultured, because Western civilization is neither inelegant nor uncultured”.

Visual style

The film has been hailed for its stunning realism, especially in its scenes of Algerian city life and large-scale public protest and rioting.[citation needed] The handling of the crowd scenes is masterly, capturing the raw passion of the actual events. This reflects the influence of newsreel footage upon Pontecorvo's style, already evident in his Academy Award-nominated film Kapò (1959) which established his reputation. For Battle of Algiers, Pontecorvo and cinematographer Marcello Gatti filmed in black and white and experimented with various techniques to give the film the look of newsreel and documentary film. The effect was convincing enough that American reels carried a disclaimer that "not one foot" of newsreel was used.

Aiding the sense of realism, Pontecorvo and Solinas spent two years in Algiers scouting locations, especially those areas where the events to be depicted in the film took place. With Saadi Yacef as a guide, he learned about the culture and customs of the residents. Pontecorvo chose to cast from the non-professional Algerian Arabs or Kabyles he met, picking them mainly on appearance and emotional effect (as a consequence, many of their lines were dubbed).The sole professional actor in the film was Jean Martin who played Col. Mathieu; Martin was a French actor who had worked primarily in theatre. Ironically, Martin subsequently lost several jobs because he condemned his government's actions in Algeria. Martin had also served in a paratroop regiment during the Indochina War as well as the French Resistance, thus giving his character an autobiographical element.

Sound and music

Sound — both music and effects — performs important functions in the film. Pontecorvo stated in several interviews that he spent much of his time during editing thinking of leitmotifs for the score.[citation needed] These motifs were eventually incorporated into the orchestral score by Ennio Morricone to heighten the emotional impact — and to evoke parallels between events: scenes of French and Algerians civilians being slaughtered are both underscored by the same deeply elegiac music. Indigenous Algerian drumming, rather than dialogue, is heard during a scene in which female FLN militants prepare for a bombing. In addition, Pontecorvo used the sounds of gunfire, helicopters and truck engines to symbolize the French approach to the battle, while bomb blasts, ululation, wailing and chanting symbolize the Algerian approach.

Maria Full of Grace
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Maria Full of Grace, 2004,
Spanish title: María llena eres de gracia, lit.

Directed by     Joshua Marston
Produced by     Paul S. Mezey
Written by     Joshua Marston
Starring     Catalina Sandino Moreno, John Álex Toro
Music by     Leonardo Heiblum, Jacobo Lieberman
Cinematography     Jim Denault
Editing by     Anne McCabe, Lee Percy
Distributed by     Fine Line Features
Release date(s) January 18, 2004
Running time     101 min.
Country     Colombia, Ecuador, United States
Language     Spanish

HBO Films and Fine Line Features present the Sundance and Berlin Film Festival award winner, Maria Full of Grace. The film tells the story of one young woman’s journey from a small Colombian town to the streets of New York. A bright, spirited 17-year old, Maria Alvarez (Catalina Sandino Moreno) lives with three generations of her family in a cramped house in rural Colombia and works stripping thorns from flowers in a rose plantation. The offer of a lucrative job involving travel – in fact, becoming a drug “mule” – changes the course of her life. Far from the uneventful trip she is promised, Maria is transported into the risky and ruthless world of international drug trafficking. Her mission becomes one of determination and survival and she finally emerges with the grace that will carry her forward into a new life. Directed by Joshua Marston, the film is in Spanish, with English sub-titles. An HBO Films/Fine Line Features release, Maria Full of Grace was honored with the Audience Award at the 2004 Sundance Film Festival, and two awards at the 54th Berlin International Film Festival: Catalina Sandino Moreno shared the Silver Bear for Best Actress with Charlize Theron of Monster, and the film won the Alfred Bauer Prize for Best First Feature for director Joshua Marston.

Directed by: Joshua Marston
Starring: Catalina Sandino Moreno
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(2003. 35mm. 170 minutes. Color. DTS)

Director : Theo Angelopoulos
Script by : Theo Angelopoulos
in collaboration with : Tonino Guerra, Petros Markaris, Giorgio Silvagni
Cinematography : Andreas Sinanos
Music : Eleni Karaindrou
Sets : Giorgos Patsas, Costas Dimitriadis
Costumes : Ioulia Stavridou
Editing : Giorgos Triantafyllou
Sound : Marinos Athanassopoulos
Producer : Phoebe Economopoulos
Production Managers : Costas Lambropoulos, Nikos Sekeris
Cast : Alexandra Aidini, Nikos Poursanidis, Giorgos Armenis, Vassilis Kolovos Eva Kotamanidou, Toula Stathopoulou, Michalis Yannatos, Thalia Argyriou, Grigoris Evangelatos
Production : Theo Angelopoulos, Greek Film Centre, Hellenic Broadcasting Corporation ERT S.A., Attica Art Productions (Athens), BAC Films S.A., Intermedias S.A., Arte France
with the participation of : Canal + (Paris), Classic SRL, Istituto Luce SpA
with the participation of : RAI CINEMA (Rome), NETWORK MOVIE Reinhold Elschot
Peter Nadermann, ZDF/ARTE Meinolf Zurhorst
With the support of the EURIMAGES Fund
of the Council of Europe

The film is set entirely in Greece between 1919 and 1949. It begins with the entry of the Red Army into Odessa and the flight of the Greek community there and ends in 1949 with the end of the Greek civil war.
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