“Sexx” di Davide Ferrario – Conferenza Stampa

Cosa vediamo quando guardiamo? Che rapporto si stabilisce tra l’osservatore e la cosa guardata?

Affollata la Conferenza stampa odierna per il film Sexxx, inserito nella sezione Festa Mobile / Palcoscenico. Presenti il regista Davide Ferrario, il coreografo Matteo Levaggi, il direttore della fotografia Fabrizio Vacca e Paolo Manera, direttore della Film Commission Torino Piemonte.

Il regista ha raccontato di aver visto il balletto Sexxx di Levaggi per una casualità, e per la curiosità suscitata dal titolo. Positivamente affascinato dallo spettacolo, ha voluto subito far sapere al coreografo che sarebbe stato disposto a filmarlo.

Continua la lettura di “Sexx” di Davide Ferrario – Conferenza Stampa

Strange Days by Kathryn Bigelow

Article by: Matteo Merlano                                                                                       Translation by: Lorenzo Matarazzo

  • Los Angeles, December 31 1999, at the dawn of the new millennium tensions and chaos rule a militarized city, slave to a new drug which is powerful and unstoppable: Deck, i.e. other persons’ experiences recorded on mini-disc and directly wired to the brain of the user. Lenny Nero (Ralph Fiennes) is the biggest “experiences’” dealer around, but when he receives a clip containing a Deck fix showing the truth about the homicide of rapper Jeriko One, leader of the rising afroamerican rebellion, his life takes a dangerous turn.

    Set only four years after the moment of shooting, Strange Days predicted the future in a rather disturbing way. Kathryn Bigelow was the first woman director who cleared the Action genre through the customs of male-only directions (masterpieces such as Point Break and Near Dark are works of hers) and gives us the image of a Los Angeles which is nocturnal, violent and full of tensions and contradictions (a big part of the credit goes to the script from James Cameron, Bigelow’s ex-husband) where the characters wander like ghosts searching for Life, not theirs, but other people’s, the one which is “transferred” in the brain like a file from a Usb drive. No one is safe in this world and to escape sadness everyone is willing to do anything. A movie filled with a 90s’ atmosphere, from the aesthetic choices (fast montage and a photography reminiscent of the one used in videoclips) to the Hip Hop, Techno and Post-Punk countercultures, up to the human side, where in a society which lacks direction the only salvation is true love, when it is absolute and romantic. Great soundtrack: Tricky, Deep Forest, Peter Gabriel and Skunk Anansie, to name a few.
    Perfect cast with Fiennes, at ease and troubled at the same time in this scenario, a Juliette Lewis who is more beautiful and reckless than ever and Angela Basset, who carries on the role of tough women so dear to Cameron (Sigourney Weaver in Aliens and Linda Hamilton in Terminator), as well as a disturbing Vincent D’Onofrio, playing a corrupted and psychopathic policeman.

    It is unbelievable how much of the vision from Bigelow and Cameron came true. At the time of production racial tensions had reached their peak because of the police killing of Rodney King in 1992. Today they have emerged again for the same reason in many places around the United States. A militarized L.A. sadly reminds of the big European cities of these weeks. After the 13 November tragedy in Paris and after other similar events, Strange Days appears extremely contemporary. A must see which helps to understand the dark, crazy and “strange” days that we are living in now, year of the Lord 2015.

 

“Strange Days” di Kathryn Bigelow

Los Angeles, 31 dicembre 1999. All’alba del nuovo Millennio le tensioni e il caos regnano in una città militarizzata e schiava di una nuova droga, potente e inarrestabile, “deck”, capace di trasmettere esperienze altrui registrate su mini-disc e collegate direttamente al cervello dei fruitori. Lenny Nero (Ralph Fiennes) è il maggiore spacciatore di “esperienze” in circolazione, ma quando riceve una clip che contiene un deck con la verità sull’omicidio del rapper Jeriko One, leader della nascente rivolta afroamericana, la sua vita prende una piega pericolosa.

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“La decima vittima” di Elio Petri

La decima vittima sarà una satira del mondo attuale, una trasposizione allegorica di aspirazioni di inquietudini dell’oggi dove verranno fustigati certi costumi, la ferocia dei rapporti individuali e collettivi, l’arrivismo sociale dei tempi moderni”   E’ con queste parole che Elio Petri presenta il suo film nel 1964.

La decima vittima, che viene proiettato nella retrospettiva “Cose che verranno”, è tratto dal racconto La settima vittima di Robert Sheckley, edito in Italia nell’antologia Le meraviglie del possibile. E’ sceneggiato tra gli altri da Ennio Flaiano e Tonino Guerra ed è magistralmente interpretato da Marcello Mastroianni e da Ursula Andress. Forse è uno dei pochi film italiani di fantascienza degni di nota: un insieme di commedia e dramma, azione e satira, di surrealismo e pop art. D’altra parte, sono evidenti anche le parentele con la tradizione della commedia italiana. 

La narrazione è fortemente surreale. Siamo in un ipotetico futuro in cui è stato creato il Ministero della Grande Caccia, un organo che controlla l’inseguimento e la lotta tra due antagonisti, un cacciatore e una vittima i quali fanno a gara a chi toglie per primo la vita all’altro. Ricompensa per  il cacciatore che uccide la propria decima vittima è una consistente somma di denaro e la vincita del titolo di decathlon. Una delle sequenze più surreali e avvincenti del film è quella della sfida tra Caroline (Ursula Andress) e Marcello.

Scelta perfetta degli sceneggiatori e del regista è quella di ambientare la sequenza finale a Roma, nel Tempio di Venere. Le rovine dell’antichità diventano il teatro di una vicenda ambientata in un futuro prossimo, per dimostrare che la violenza e il piacere provocato da essa appartengono a tutte le epoche. Questo è un forte spunto di riflessione che il film, con toni leggeri, cerca di sollevare, denunciando il sistema capitalistico nel quale viviamo. Gli uomini sono oggetti facilmente rimpiazzabili da altri, e uccidersi vicendevolmente è un atto legittimo e necessario per la convivenza pacifica. C’è un nemico predestinato, e deve necessariamente essere eliminato. 

Film più che mai attuale, allegoria di una realtà e di una società tipica dei nostri giorni. Emblematica la leggerezza con la quale Marcello ride della (finta) morte di Caroline: “Lei ha perso perché non ha bevuto una doppia razione di tè Ming!”.

“Dead Slow Ahead” di Mauro Herce

Mauro Herce, di origine catalana, al suo debutto da regista ci propone Dead Slow Ahead, un lungometraggio che – è stato detto in sede di proiezione, con il regista presente – è stato “conteso” fino all’ultimo tra la sezione “Cose che verrano” per il suo carattere fantascientifico e la sezione Tffdoc che infine è riuscita ad aggiudicarselo. Continua la lettura di “Dead Slow Ahead” di Mauro Herce

“Luce mia” di Lucio Viglierchio

Luce mia è il film di Lucio Viglierchio presentato nella sezione Festa Mobile della 33° edizione del Torino Film Festival. Il regista racconta, con sguardo documentaristico, il periodo trascorso in ospedale a causa di una malattia: la leucemia mieloide acuta. Viglierchio punta l’attenzione sul dolore provocato dalle cure, sull’isolamento terapeutico e su come, estinto il morbo, la vita sia cambiata inevitabilmente. Ma di fronte alla nascita di una figlia, il regista capisce che bisogna seppellire i tristi ricordi del passato per ricercare un equilibrio che permetta di sentirsi ancora vivi.

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“Borsalino City” di Enrica Viola

Borsalino City, della sempre molto fornita sezione Festa Mobile, è un documentario diretto da Enrica Viola e prodotto dalla UNA Film. Il film ripercorre la storia della ditta Borsalino; fondata ad Alessandria nel 1857 da Giuseppe Borsalino, ottenne fama internazionale con il Grand Prix del 1900 tenutosi a Parigi. Pochi mesi dopo, Giuseppe – che aveva studiato l’arte del cappellaio in giro per il mondo – morì, lasciando la Borsalino in eredità al figlio Teresio Borsalino. È in questi anni che si creò una faida all’interno della famiglia, con la scissione del cugino di Teresio, Giovanni Battista Borsalino, il quale fondò una nuova ditta chiamata Borsalino Fu Lazzaro; da questa faida nacque l’idea che forse, il vero inventore del cappello Borsalino, non era stato Giuseppe, ma suo fratello Lazzaro (il padre di Giovanni Battista). Teresio lasciò la ditta di famiglia in mano al nipote Teresio Usuelli, durante il cui mandato si festeggiò il centenario della nascita della ditta Borsalino, nel 1957; sono i loro discendenti, tra cui Vittorio Vaccarino, che raccontano le faide, le imprese e i ricordi della loro impresa di famiglia.

Continua la lettura di “Borsalino City” di Enrica Viola

Borsalino City by Enrica Viola

Article by: Barbara Vacchetti

Translation by: Martina Taricco

Borsalino City, part of the always rich Festa Mobile section, is a documentary directed by Enrica Viola and produced by UNA Film. The movie retraces the history of the Borsalino company, which was founded in 1857 by Giuseppe Borsalino in Alessandria, a town located in the piedmontese countryside. The brand became internationally well-know thanks to the Grand Prix held in Paris in 1900. A few months later Giuseppe, who had learned the hat craftmanship around the world, died and the company was passed on to his son, Teresio Borsalino. After a family feud Teresio’s cousin, Giovanni Battista Borsalino, founded a new company called Borsalino Fu Lazzaro. As a consequence of the split, rumours followed that the true inventor of the Borsalino hat had not been Giuseppe while instead his brother Lazzaro (Giovanni Battista’s father). It was Teresio Usuelli, Teresio Borsalino’s nephew, who inherited the family company whose centenary was celebrated in 1957. In the movie, the family descendants tell and recall the feud, the business achievements and their history.
Nonetheless, the documentary focused the attention not only on the Alessandria firm as instead much more on the social rule played by hats from 19th Century until the first half of the 20th Century. In fact, for a hundred years, hats showed the social class people belongs to. Nobody would have gone out without a hat and this is proved by many photographs and video of that time. However, during the 60s wearing hats was not fashionable anymore so that many hat factories were forced to shut down or sell the company.
In particular, the Borsalino was considered as a source of wealth for the city of Alessandria because it employed many of its inhabitants. Thanks to many audio testimonies granted by some of the employee, we know that the company bell marked not only the working life but also the activities of the city. When Alessandria was bombed during the Second World War, the population did their utmost to save all the hats left in the factory and to help with its reconstruction.

 

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But the most interesting and unique aspect of the documentary is, with no doubt, the strong relationship between the Borsalino hat and Hollywood. By hearing Robert Redford rich voice telling us about his visit at the factory and his desperate quest after the hat worn by Marcello Mastroianni in Federico Fellini’s 8 ½, the audience goes back over to the Hollywood golden age and finds out the importance that hats had during that period. What would happen to Casablanca if in the scene when Humphrey Bogart leaves Ingrid Bergman, both of them were wearing any hats?

FILE – NOVEMBER 23, 2012: The American romantic movie drama Casablanca celebrated its world premiere on November 26, 1942. Starring Humphrey Bogart and Ingrid Bergman the film was a solid success in its initial run, winning three Academy Awards, and its characters, dialogue, and music have become iconic. It now consistently ranks near the top of lists of the greatest films of all time. Please refer to the following profile on Getty Images Archival for further imagery: http://www.gettyimages.co.uk/Search/Search.aspx?EventId=113854183&EditorialProduct=Archival&esource=maplinARC_uki_12nov Humphrey Bogart (1899 - 1957) and Ingrid Bergman (1915 - 1982) star in the Warner Brothers film 'Casablanca', 1942. (Photo by Popperfoto/Getty Images)

And what would happen to the image of the gangster wearing a hat that was so fashionable both during the prohibitionism and in films noir? The hat was used to connote the character. It was not only a medium with which cover one’s face when the police arrived, the hat gave a mysterious look to the character and, consequently, made the actor look like a star. After all, the huge recourse to hats to depict the gangsters was due to Al Capone habit of always wear a hat himself. The Borsalino company was able to took advantage from the popular imagination to promote its product and identify itself all around the world, that turned out to be a winning move. It is enough to mention the movie played by Jean-Paul Belmondo e Alain Delon which is named after the best-known hat in the world: Borsalino.

La felicità è un sistema complesso by Gianni Zanasi

 

 

 

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Article by: Lara Vallino

Translation by: Martina Taricco

Enrico Giusti’s job is a very useful one: he gets acquainted with incompetent business executives, he listens to them, then becomes their friend, and eventually manages to take over the company they are not able to run. His ability is to make these people believe that it was their own decision. He is the best and the only one in his field, but guilt does not leave him alone: are all managers like locusts?

Continua la lettura di La felicità è un sistema complesso by Gianni Zanasi

“La felicità è un sistema complesso” di Gianni Zanasi

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Enrico Giusti fa un lavoro utile: avvicina incompetenti dirigenti d’azienda, li ascolta, ne diventa amico, e infine li convince a cedergli l’azienda che non sono in grado di dirigere. La sua bravura consiste nel far credere che sia stata una loro idea. È il migliore nel suo campo, ma un senso di colpa lo perseguita: saranno davvero tutti cavallette?

Continua la lettura di “La felicità è un sistema complesso” di Gianni Zanasi

“Rak ti khon kaen” (“Cemetery of Splendour”) di Apichatpong Weerasethakul

– Mi hanno detto che ha un’amante. Riesci a vedere dove la tiene nascosta?
– Riesco a vedere solo la sua vita passata.
– Focalizzati sul presente, per favore. Voglio saperlo.

Una moglie tradita siede al capezzale del marito in coma in compagnia di una giovane sensitiva la quale, come lo zio Boonmee, si ricorda le vite precedenti. Ci troviamo nel piccolo ospedale di un villaggio dell’entroterra thailandese. Lo stesso villaggio in cui è cresciuto il regista Apichatpong Weerasethakul (la madre era medico in una struttura molto simile) e in cui ritorna dopo aver vissuto e lavorato negli Stati Uniti.

Continua la lettura di “Rak ti khon kaen” (“Cemetery of Splendour”) di Apichatpong Weerasethakul

Mountain by Yaelle Kayam

Article by: Alessandro Arpa

Translation: Kim Turconi

According to biblical tradition, The Mount of Olives represents the place where God will bring the dead back to life on Judgment Day. Cliffs and rocks outline a landscape full of paths both winding and labyrinthine, each of them studded with an unknown number of tombstones. A house built into a rock wall separates the world of the dead from the living. Tzvia (played by Shani Klein) lives in this spiritual and transcendental place. She is the protagonist of Mountain, the new film by Yaelle Kayam, which was presented for the first time this year in the “Orizzonti” section of the 72nd annual Venice International Film Festival. This feature film tells the story of a Jewish woman waiting for any signs of love coming from her husband. The routine of Tzvia is always the same: she does housekeeping and walks in poetic landscapes among millions of burial recesses. While Tzvia waits for the love and attention of Reuven, her husband, she begins to wander in the area around her house at night. Thus, she discovers that some erotomaniacs meet to consummate decadent copulations with each other, when the sun goes down. At the beginning, she hides herself among the tombstones and watches, with a voyeuristic attitude, the merging of the bodies during sexual intercourse. The Jewish woman discovers the meaning of sexual liberty and makes a comparison between that attitude and her unsatisfying life with her husband. Tzvia is still hidden and she does not know how to escape the situation. When the erotomaniacs become aware of the presence of the woman, Tzivia reduces herself to a servile condition. She feels a sense of guilt, so she decides to offer a meal to the group of exibitionists every night from now on. The film exudes the philosophy of Bataille and sacredness becomes seminal. Mountain presents images full of symbolism. For example, the scene in which Tzvia touches a used condom clearly indicates that she is a sexually repressed woman, while the image of the dead mouse lying on the floor reveals in advance the tragic ending of the film. To summarize, this work by Kayam is nebulous and fails to emerge. Still, there are some interesting – but half-developed – ideas. They float in the air just like Tzvia’s sexual desires do. Who knows if love will crush sense of duty once again.

“Mountain” di Yaelle Kayam

Il Monte degli Ulivi, per tradizione biblica, è il luogo in cui Dio farà rinascere i morti quando sarà giunta la fine dei secoli. Dirupi e rocce delineano un paesaggio composto da tortuosi e labirintici sentieri costellati da un numero imprecisato di lapidi. Una casa scavata nella roccia separa il mondo dei morti da quello dei vivi. In questo luogo trascendentale e spirituale vive Tzvia (interpretata da Shani Klein), la protagonista del nuovo lavoro di Yaelle Kayam: Mountain.

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“Suffragette” di Sarah Gravon – Conferenza stampa

Se ieri sera la proiezione del film Suffragette ha inaugurato il 33° TFF, stamattina la prima conferenza stampa dell’edizione 2015 ha visto protagonista lo stesso film.  A rispondere alle domande dei giornalisti erano presenti la regista Sarah Gravon, la sceneggiatrice Abi Morgan, e una delle due produttrici, Faye Ward.

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The Press conference: Suffragette Opens 33 TFF Press Conference

Article by: Danila Prestifilippo                                                                                     Translation by: Roberto Gelli
Not only was Suffragette shown yesterday evening to inaugurate 33th TFF, but also the film was the protagonist of the first press conference, which took place this morning. Film director Sarah Gavron, screenwriter Abi Morgan and one of its producers Faye Ward answered journalists’ questions and explained the film goals and the choices they made, in order to create the short film.

Muad (Carey Mulligan), a female worker, is the protagonist. She is a fictional character and fights together with other women, who represent really existed historical feminists like Emmeline Pankhurst (Merylin Streep). As director Gavron pointed out, the aim of this semihistorical approach was to make a connection between the women, who were given the mocking name Suffragettes and started their battle for their right to vote hundred years ago and modern women, who are still struggling with salary discrepancy, sexual violence and for their right to children protection and tutoring.

Suffragettes social movement has fought for fifty years but, if it is true that the first forty years had been a pacific struggle, in the following sixteen months the fight became more violent and cruel and almost none knows about it. The absence of films that tell us about the violence these courageous women had to endure, played a great role in persuading Faya Ward and Alison Owen to produce the film. Faya Ward stated: “We wanted the public to be aware of the importance of the sacrifices and the success related to Suffragettes fight. We also wanted to underline how their results are effective in nowadays society. We have tried to give modern spectators some contact points, in order for women not only to be politically active, but also to encourage them to be and become what they really feel they are or they could be. Our attempt was to give voice to those, who were not yet given their chance on the big screen.”

Abi Morgan, who had already been the screenwriter of movies such as The Iron Lady, emphasized that the challenge was to choose a really meaningful example of woman’s life and be able to put it in a precise historical context. She said: “On the one hand the character of Muad underlines the role of lots of passive supporters who became activists, on the other hand it investigates the reasons which persuaded women like her to put their jobs, their families and their homes at risk, in the name of a civil right”. The film focuses on the political matter and puts in the foreground these courageous protagonists, so the decision to not examine in depth personal stories was due to the fact that there are not enough literary or movie material at disposal, to which one can refer to. With reference to that, Morgan added that it was much more important to end the film with information about Saudi Arabia and its 2015 law concerning women right to vote only if accompanied by men, rather than to think at some sort of dramatization of Maud in the Hollywood style.

Sarah Gavron gave some further meaningful figures: “Still today, 66 million of women worldwide have no right to vote, 2/3 are illiterate and only 22% hold public offices. It says that the face of poverty is female and unfortunately these figures confirm it”.

The film’s aim is not only political and historical, it concerns the social matter too by denouncing and preventing the high young people abstaining rate, above all among women. Director Gavron told about the reaction of most of the female audience attending Suffragette’s introduction meetings. As she had hoped, after seeing the film, they expressed their wish to vote again because it made them aware of the sacrifices made by British feminist movement. She also reported that the troupe film (almost completely composed by women) wanted to give a clear signal during the film shooting, so they symbolically demonstrated against government by obtaining the permission to film in the House of Parliament in London, that same institutional place, which had declared against women right to vote.

Asked about a possible way to increase female presence in all sectors, starting from institutional offices, Abi Morgan answered: “We have to introduce the concept of positive discrimination and keep insisting about the importance women have within a context implying equality of the sexes. Geena Daves said “See in order to Be”: we need to have a radical attitude, to leverage the mass media but, in order to be successful, women complicity is essential”.

Faye Ward ended the press conference by making a consideration about the fact that Suffragette is a film of women who fight for their right to vote but “today the concept of fight may imply different ways. Each one of us can be what he wants to be, and this is true for both genders and all races. It is enough that we find our own voice and utter our words in every place, in political institutions or other kind of institutions.

“Sayat Nova” (“Il colore del melograno”) di Sergei Parajanov

Sayat Nova è un poeta armeno del 18° secolo, un troubadour che cantava i suoi versi in tre lingue diverse, un monaco che trascorse la sua vita nella sofferenza e nel tormento (come viene ripetuto più volte durante il film), innamorato della principessa Anna della Georgia.

Continua la lettura di “Sayat Nova” (“Il colore del melograno”) di Sergei Parajanov

Kilo Two Bravo by Paul Katis

Article by: Luca Bellocchia                                                                                           Translation by: Rita Pasci

An excellent debut film from British director Paul Katis, after working his way up directing short films. The film is based on real events that happened to Mark Wright and a small unit of British soldiers stationed in Afghanistan, on a ridge near the Kajaki dam.
To disable a Taliban roadblock, a three-man patrol offers to carry out the mission. In a dried out river bed, one of them accidentally detonates a landmine, losing his leg in the process. This triggers a tense and claustrophobic narrative, where shots of vast deserted spaces define an indifferent and merciless setting. Although the film was shot outdoors, the action takes place in a very confined space.
What’s thought-provoking is the fact that even though the film is set in Afghanistan, the indigenous population is kept at a distance from the centre of the action, apart from the very beginning of the film.
Katis favours all that is anti-spectacular, the events are told in a dry and blunt manner. The outstanding performance of the actors playing the main characters cannot leave even the most insensitive viewer indifferent.
One thing that’s astonishing is the sense of humour of the soldiers, who, despite the tragic situation they find themselves in, still manage to defuse the tension. The soundtrack is reduced to the essential, the panting of the maimed and wounded and the noises made by flies cast the viewer directly into what’s happening, making everything more real.
Kilo Two Bravo is a film that gives an opportunity to elaborate on a point of view about war that is still unexplored, namely that of real war, where young people die simply because of distraction, misunderstanding, or just pure bad luck.

“Kilo Two Bravo” di Paul Katis

Ottima opera prima dell’inglese Paul Katis, dopo una gavetta trascorsa con cortometraggi. Il film è basato su fatti realmente accaduti a Mark Wright e ad una piccola unità di soldati britannici di stanza in Afghanistan, su un crinale vicino alla diga Kajaki dam.

Una pattuglia di tre uomini si propone volontaria per rompere un blocco stradale talebano. Nel letto di un fiume prosciugato, uno di loro fa accidentalmente detonare una mina, perdendo una gamba. Questo innesca una trama tesa e claustrofobica in cui inquadrature di ampi spazi deserti forniscono una sensazione di accerchiamento e prigionia.

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“February” di Osgood Perkins

Si dimostra una rivelazione Osgood Robert “Oz” Perkins, figlio dell’attore Antony Perkins, con la sua prima opera da regista: February, un horror thriller. In precedenza lo avevamo visto come attore in Psycho II e più recentemente nel ruolo di sceneggiatore in The Girl in the Photografs.

February è sicuramente un film che crea atmosfera. In sala si percepiva il gelo pungente delle strade innevate, così bianche che trasmettevano un senso di serenità, ma con la sensazione che non sarebbe durata a lungo. Infatti ben presto queste stesse strade sarebbero state deturpate da strisce rosse di sangue.

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February by Osgood Perkins

Article by: Valentina Di Noi

Translation by: Chiara Toscan

Osgood Robert “Oz” Perkins, son of the actor Antony Perkins, proved to be a wonder with his first work as a director, the horror thriller February. We have already seen him acting in Psycho II and more recently screenwriting The Girl in the Photographs.
February is undoubtedly a film that creates an atmosphere. The theater was immersed in the sharp frost of the snowy streets that were so white they gave a sense of purity. However, such sensation was not meant to last, as soon those streets were going to be spoiled by trails of blood.
The film is set in Kempville, Ontario Canada. It’s February and the students of the all girls boarding school “Kempville” are getting ready to leave for their hometown for the winter break. Kate (Kiernan Shipka) and Rose (Lucy Boynton) are stuck at school because their parents have mysteriously failed to retrieve them. Rose finds herself forced to babysit Kate even if they are not friends but rather share resentment. At the same time, Joan (Emma Roberts), escaped from a mental health facility, is heading towards the school, while Kate starts to have a strange attitude.
In this feature film lingers not only tension but also teenage crisis and inner torments, especially through the characters of Rose and Kate. Its deconstructing montage might create confusion, however, at the end, all the pieces of the puzzle come together.
The film has no shades, only clear contrasts: the breaks between scenes as well as music change are clear.
Just one more thing: pay attention to the cutlery and Donnie Darko‘s bunny ears.

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