CINEMA GREENWICH D’ESSAI – CAGLIARI – PROGRAMMING 15-28 NOVEMBER Reviewed by admin on . PROGRAMMING CINEMA OF GREENWICH ESSAI November 15 to 28 Via Sassari 65 67 09123 Cagliari, Italy Phone 345 575 5855 Other numbers 070 666859 Cagliari Province EA PROGRAMMING CINEMA OF GREENWICH ESSAI November 15 to 28 Via Sassari 65 67 09123 Cagliari, Italy Phone 345 575 5855 Other numbers 070 666859 Cagliari Province EA Rating:

CINEMA GREENWICH D’ESSAI – CAGLIARI – PROGRAMMING 15-28 NOVEMBER

PROGRAMMING CINEMA OF GREENWICH ESSAI
November 15 to 28
Via Sassari 65 67
09123 Cagliari, Italy

Phone 345 575 5855
Other numbers 070 666859

Cagliari Province

EAST HALL: The Bride, directed by Rama Burshtein
Monday to Friday 19.15 to 21.30 Saturday and Sunday 17,00-19,15-21,30
WEST HALL: Up to Paris Wednesday, November 21 Manhattan, directed by Sophie Lellouche
19.15 to 21.30 hours

WEST HALL: Thursday, November 22: And they call summer, directed by Paolo Franchi Monday to Friday 19.15 to 21.30 Saturday and Sunday 17,00-19,15-21,30

THE BRIDE PROMISE
Tel Aviv. Shira is betrothed to a young man of his own age and of the same social class. During the Feast of Purim, the elder sister Esther, died in childbirth giving birth to her first child. The marriage of Shira is overshadowed. A Yochay, the husband of Esther, it is proposed to join a Belgian widow, but Yochay believes that it is too soon. When the mother-in-law turns out that Yochay could leave the country with her only grandchild, proposed a union between Shira and widower. Shira will therefore have a choice whether to listen to her heart or follow the family’s wishes …

CALL AND SUMMER

Dino is forty years old and a great love for Anna, who can not touch or eat in an embrace. Anesthetist by day, compulsive lover at night, looking for satisfaction with prostitutes and swingers. The early death of his brother and mother left him deeply marked and lead to sexual addiction. Rejected the loving care and gentle advances of Anna, Dino recovers and meets with the former partner, asking them to get back with her or appagarne the pleasure which he denies. Away or looked with compassion, the man asks Anna to find a passionate lover. Anna, first reluctant, eventually give in, allowing himself a few nights of sex with a stranger. But the feeling he has for Dino is more powerful than any physical pleasure and frustration. Return home but maybe for you and Dino is really too late to start over. The third feature Paul Franks moves between the song by Bruno Martino (“And they call summer”), which headlines the film, and that of Rita Pavone (“What do I care in the world”), which ended with a penalty almost geometric. Bruno’s voice sings the loss and the absence of those we loved and never stop loving verses instead of Pavone said the closeness and the presence of the beloved, exemplifying the movements and emotional extremes of the lead couple, locked in a room ideal . Franks attempts a narrative to feelings, music and images, creating a (melo) drama elegant and icy in an apparent timelessness. If Fallen Heroes faced with aesthetic features as the sterility of the soul, and call it summer experiences the emotional appetite through a couple stages the possedibilit√† not love. The Dino ‘anesthetized’ by Jean-Marc Barr fills the gap with the exercise of a compulsive sexual practice, sensing that out in the world and in a clean room, there is something better, someone to live. But all this beauty the star has recanted, a long time ago that back in the photographs and the testimony of those who knew him, choosing to self-abjection and damnation. The spiral of shame then proceeds in rounds ever closer, which dissolves and leaves the Anna Isabella Ferrari lost and dumb, trying to interfere with a feeling challenging downhill beloved. And in the fall the protagonist carries with it also the author, swallowed into the black waters of the securities (opening). If the film Franks has the unquestioned courage to go beyond the established canons of realism and beyond the obviousness of Italian cinema too, once again, the feeling is that its subjects (always interesting) end up succumbing to the mannerism of the story, wasting the concepts evoked and anxieties triggered. Stylistically unresolved, and call it suffers summer in addition to automatic dialogues whose problem is the (in) credibility. The difficulty of being believed traumatizes, and undermines any relationship with the recipients of the film that was never involved or moved, touched or never ‘touched’. As Dino, Paul Franks seems to abdicate the practice of emotion, eventually overwhelmed by his philosophy, his idea of cinema autarkic, autistic, ‘suicide’. A film that has ‘frankly’ need of the viewer to be.

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