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Cinematic mutations

Second day of festival, workshpos and meetings. Cannes is definitely a living contraddiction, quiet and alive at the same time. The sun of the last days of may worshiping this part of the world makes everything better, cheerful. It's cinema power! Today is the day of Turner's pamphlet by Mike Leigh (also known for Secret and Lies, 1966), the story of the English painter at the beginning of 1800. A multimillion pre-production. Who knows how much this special effect of a sunny day and some cheerfulness costed to the studio. Who knows if tomorrow when Polish, Turkish, Italian film makers come there' ll be only rain and depression, as we can' t afford anything else. It's all a matter of budget. To be correct, an italian average film needs a budget of about two million euros whereas an english (or french) movie needs a buget of about five. Finally, an average american movie requires some 10 million euros and one from Hollywood costs 50 million euros. 

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The Croisette makes the difference

I'm passing quietly through several human classes. I am going to the most fashionable and elegant festival in the world. There are those wearing smoking and sunglasses ( many) placed around the red carpets, the crime scene of the festival. Soon Nicole Kidman and Tim Roth will parade with dark faces for the Grace premiere. Maybe they already feel it will be a flop. Then there are those who desperately search for a ticket, possibly a last minute one to get to see a movie no one will remember. This group of people is big, too, and they are all piled up at the barriers, armed with cameras, mobiles or ipads, even though they will be able to portray only the necks of the people in front of them.


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