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Johnny Depp as a gangster, Eddie Redmayne as a woman, Tilda Swinton as a Rock Star: News from Venice.
The modern cinema operation has decided that no more must stay on top of the canvas. Who wants to be a star, must occasionally descend, so that everyone can convince them that he still so small and so fragile like everyone else.
Johnny Depp rises reluctant down, and his performances are only Somewhat helpful here to convey its glory – but one has the impression, as if he is sitting in Venice before the assembled press that he also does not want that. He speaks slowly, but what he says is absolutely clear – that he wanted to be an example, rather like John Barrymore and not the “poster boy, they wanted to make of me.” It is clear that no other actor plays with so much enthusiasm is felt in the skin of another. And since the idea is close that Johnny Depp might was not there, but only a fictional character, he has created for public appearances
Of course he was here to promote a movie -. “Black Mass “by Scott Cooper, a classic gangster film. And since it disappears in fact entirely in his character. You have to know that he is to recognize him in the gaunt, elderly guy with the receding hairline and the ice-blue gaze already. This James Bulger is his best outing since John Dillinger in Michael Mann’s “Public Enemies” of 2009. Another gangster, only was his charming Dillinger; James Bulger is awesome
Venice wants to be a launch pad for the Oscars so like -. And Johnny Depp is as good as a long time
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I do not think so, says Depp, “that anyone in the morning gets up, looks in the mirror and says. I’m angry ” James Bulger, who to mischief in the seventies and eighties in Boston, has probably also a justification concocted for what he did – among other things that he has not even invented the local drug market. Only ripped itself. He runs through his neighborhood in Boston and lets his bat the old ladies carry the groceries home. And is gradually to drug lord. Not quite on its own, because it has the man yes actually given, and director Scott Cooper solely focused on identifying how that came about: thanks to a method by which the American foreign policy has remained very wrong. A small enemy is instrumentalized in order to combat a great enemy and growing in this shelter a giant villain from.
At the FBI, Bulger has an old friend, (Joel Edgerton), who recruited him as informers, and initially may even self thinks it’s a good idea to fight the Mafia. Bulger gives him little useful information, but closes on in each gap, the freely admits the Mafia, murder and holed up there behind the FBI.
It does not want a lot of atmosphere arise in this costume piece, but Depp is great. So there was also the first prediction, he would perhaps nominated again for an Oscar. Venice wants to like to be a launch pad for the Oscars. Often that is true. Hi, he ran after all, “Gravity” and “Birdman”, cleared away the letzes and vorletzes year there
For the Best Actor award in Venice, he is not an option, “Black Mass” is screening out of competition -. The favorite for this is probably Eddie his Redmayne, who has just got an Oscar for “The Theory of Everything”, and should be involved again with his performance in “The Danish Girl” by Tom Hooper, the director of “The King’s Speech”, even at the next Oscars.
The young painter Einar (Eddie Redmayne) hides in “The Danish Girl” behind a fictional character in front of the people who make it unsafe – and then that this fictional character he himself has discovered. The story begins in 1926, Einar and his wife Gerda (Alicia Vikander) are a happy couple verlottertes Painters in Copenhagen. In all innocence, they can wear it for one of her portraits silk stockings and Satinpantöffelchen – it is in default and the actual model has no time. It is a game of it. Einar appears as his own cousin Lilli on to accompany his wife to artists’ meeting, in which he actually did not feel good – and Gerda painted Lilli and thus has more and more success
One has to look very closely to see Johnny Depp behind the figure of the gangster James Bulger, whom he plays with virtuoso threatening.
(Photo: Warner Brothers )
The Roman, the Hooper filmed, based very loosely on the real story of the first sex change. Which in the end the only way out, the Lilli still sees that they can not be themselves, Gerda loves but can no longer live with her. At the end of the melodrama is indeed with Hooper through – but “The Danish Girl” is still a beautiful, moving film about the fact that one should not bend people
The Future Fascists did not even get the police state of 2015 through <. /> h3>
Also the heroes in Drake Doremus’ science fiction “Equals” are trapped in their bodies. They live in a future in which all people are normalized, and in some strikes by nature. Silas (Nicholas Hoult) is working in a research team, in which we never know really what is there really explored.
In general everything is sterile and engineered, there are only three uniforms, hanging bridges over artificial forests, Glass towers. Silas observed on the symptoms of the worst disease that still exist here: It has been bred out of the human emotions, and in some they break through yet again. Silas suddenly afraid, compassion, joy of eating. He then gets medication.
However, is a writer in his team, Nia (Kristen Stewart), he believes that she too has feelings. The two actually fall in love, but contact, touching or even sex are strictly forbidden here. Anyone who so much indulging his feelings, is plugged into a hospital and driven to suicide. Nia and Silas are here undercover to Romeo and Juliet, which is not so difficult, because in this strange land is with the emotions and the same logic gone overboard.
A terrifying vision, but one that hardly each reality touches – neither Sexverbot still a contact ban are realistic threat scenarios. In the meantime, it does not look as if we a totalitarian state prohibits the communication; we do to ourselves. Oh, ever: “Equals” is full of holes and fragile constructions. Doremus ‘hi-tech’ future fascists do not even get to monitoring Standard 2015 back – and that’s rather ridiculous
The opera is the genre of the improbable.. The wildest confusion, the most incredible stories, the strictest, most inexorable fate that take place in less than three hours: All appears as the highest art, once it is presented and singing with orchestral accompaniment. So great is the power of this aesthetic form that they brought forth quite a few plants that are suited to take the place of life – with possibly serious consequences for the involved in the opera staff, as there would be: self-obsession, the radical will to staging, nervous breakdowns, excesses of all kinds, and mostly with bad output. Conversely, at the staff on this side of the opera some peculiarities of this genre recognize (the American cultural historian Wayne Koestenbaum in 1993 wrote a book titled “The Queen’s Throat” above).
Venice Biennale Biennale: Stranger appearance of Johnny Depp
At the Venice Film Festival represents Johnny Depp’s new movie “Black Mass” before.
(Video: Reuters )
Such a reversal has the French director Xavier Giannoli made his own. His heroine, a wealthy nobleman named Marguerite, although lacking the elementary musical prerequisites for Diva: Her singing is of a kind that regularly performs in a distant Gallic village, to silence the Bard Troubadix. But her love for the opera is just as essential as the desire to act in a prima donna. First, the consequences are manageable, because their appearances before aufLiebhaberkonzerte closed public limited. But soon a Dadaist inspired journalist ensures that unwittingly run by Marguerite destruction of a classic genre reaches the public, and then there is no stopping them. And because at the right time even arrive a few complementary Jonah, the story goes in five chapters its necessary end to: Opera and self-knowledge does not go well together
A large part of the aesthetic power of the Opera moved in. the rock ‘n’ roll a
The movie “Marguerite” is a precisely staged parable for a historical model, transferred to the Paris of the twenties. If it’s funny (and that’s it), it always contains yet enough cruelty in order not to make her heroine to a ridiculous figure, and if it is melodramatic (she is also), plugged enough slapstick therein to the emotion in to keep borders. Above all, successful director and his two main actors – Catherine Frot in the role of Marguerite, André Marcon than her husband – the embodiment of that madness of the great singing in such a way that the audience soon fear the revelation with the minor characters of this story. The curtain must not fall, but it falls naturally yet.
After the great opera in the early twentieth century, a large part of their aesthetic force went to the popular music over and eventually moved into the Rock ‘n’ . Roll one, along with divas beings Inszenierungsfuror and self divestments of all kinds Marianne Lane, a played by Tilda Swinton Rockstar is in Luca Guadagnino’s film “A Bigger Splash” Although the incarnate reservation to the corresponding confusion between art and life – to the extent that they no longer speak after larynx surgery until further notice, let alone sing because can and retires with her lover on a seemingly remote Italian island.
The reserve falls apart when a former lover and record producer in the idyll breaks, an intolerable chatterbox duration without any capacity for social distance, which keeps life for a fundamentally obscene event where you have to keep up at an appropriate level. Because he also has a chick daughter and the whole film is a remake of Jacques Derays film “The Swimming Pool” (1969) is, can only come evil this story. But he does it without vibration and Mystery: On my own Tilda Swinton succeeds maintain an ambiguity, as it once had Romy Schneider course. The rest is mostly rock ‘n’ roll.
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