|
|
|
|
In Paris, after winning the lottery, the clerk François goes to a bar in Pigalle and offers one hundred thousand Euros per month to the prostitute Daniela to live with him until the end of his money. François is a lonely man, with heart problems and Daniela stays with him for eight days. Then, she decides to come back to her man, the mobster Charly, but she misses François and returns to his place. But once a whore, always a whore. Written by
Cinema Paradiso‘s major failure is that, while it raises the specter of post-war social and cultural transformations in Italy, it is content to wallow self-indulgently in its protagonist’s sexual failures and naive desire to escape his past. Malèna allows no such flight. Here the past is not dead or inert, it always influences the future; unlike Cinema Paradiso, this film recognizes the futility of its own nostalgia. Furthermore, the rather treacly love story — between Renato (Giuseppe Sulfaro) and the war widow Malèna (Monica Bellucci) isn’t “merely” commentary on a boy’s sexual awakening and his first impossible/unrequited passion. Renato and Malèna represent traditional Italian social and gender relations, as well as the political and cultural effects of Il Duce‘s dictatorship. The success of Malèna lies in how both Renato and Malèna’s bodies and stories become national bodies and national stories, and in its negotiation of a delusional nostalgia for an Edenic, pre-Mussolini Italy in a post-Auschwitz world
The woman who never seems to age, Monica Bellucci, appears in the February issue of Max magazine. If Monica were American she’d be a trillionaire. As it is, she’s probably just a millionaire. Her talents haven’t really translated to American media, though if I were a movie producer I’d just cast her in a movie in which all she would do is walk around in the background the entire flick wearing various bits of lingerie. The rest of the movie, the script, other actors, would be pretty much irrelevant. Man, I missed my calling…
Shoot'Em Up is a wildly edgy and inventive action movie with a dark sense of humor which promises to take audiences on a non-stop high-speed ride. Clive Owen portrays Mr. Smith, the angriest, most hardboiled man in the world, who finds himself entrusted to protect the most innocent thing of all - a newborn child. When Smith delivers the baby in the middle of a gunfight, he soon discovers that the infant is the target of a shadowy force that has sent a team of mysterious and endless assailants, led by Hertz (Paul Giamatti), to erase all traces of the baby. Amid a hail of bullets and facing every conceivable permutation of gunfight, Smith teams up with a prostitute named DQ (Monica Bellucci) to solve the mystery as to why the baby's life is being threatened before this makeshift family all ends up on the wrong side of a bullet.
Fresh Look Monica Bellucci Photoshoot
Fresh Look Monica Bellucci Photoshoot
Fresh Look Monica Bellucci Photoshoot
Cinema Paradiso‘s major failure is that, while it raises the specter of post-war social and cultural transformations in Italy, it is content to wallow self-indulgently in its protagonist’s sexual failures and naive desire to escape his past. Malèna allows no such flight. Here the past is not dead or inert, it always influences the future; unlike Cinema Paradiso, this film recognizes the futility of its own nostalgia. Furthermore, the rather treacly love story — between Renato (Giuseppe Sulfaro) and the war widow Malèna (Monica Bellucci) isn’t “merely” commentary on a boy’s sexual awakening and his first impossible/unrequited passion. Renato and Malèna represent traditional Italian social and gender relations, as well as the political and cultural effects of Il Duce‘s dictatorship. The success of Malèna lies in how both Renato and Malèna’s bodies and stories become national bodies and national stories, and in its negotiation of a delusional nostalgia for an Edenic, pre-Mussolini Italy in a post-Auschwitz world
Fresh Look Monica Bellucci Photoshoot
Fresh Look Monica Bellucci Photoshoot
Fresh Look Monica Bellucci Photoshoot
The woman who never seems to age, Monica Bellucci, appears in the February issue of Max magazine. If Monica were American she’d be a trillionaire. As it is, she’s probably just a millionaire. Her talents haven’t really translated to American media, though if I were a movie producer I’d just cast her in a movie in which all she would do is walk around in the background the entire flick wearing various bits of lingerie. The rest of the movie, the script, other actors, would be pretty much irrelevant. Man, I missed my calling…
Fresh Look Monica Bellucci Photoshoot
Fresh Look Monica Bellucci Photoshoot
Fresh Look Monica Bellucci Photoshoot
Shoot'Em Up is a wildly edgy and inventive action movie with a dark sense of humor which promises to take audiences on a non-stop high-speed ride. Clive Owen portrays Mr. Smith, the angriest, most hardboiled man in the world, who finds himself entrusted to protect the most innocent thing of all - a newborn child. When Smith delivers the baby in the middle of a gunfight, he soon discovers that the infant is the target of a shadowy force that has sent a team of mysterious and endless assailants, led by Hertz (Paul Giamatti), to erase all traces of the baby. Amid a hail of bullets and facing every conceivable permutation of gunfight, Smith teams up with a prostitute named DQ (Monica Bellucci) to solve the mystery as to why the baby's life is being threatened before this makeshift family all ends up on the wrong side of a bullet.
Fresh Look Monica Bellucci Photoshoot
Fresh Look Monica Bellucci Photoshoot
Fresh Look Monica Bellucci Photoshoot