Andrea, Maurizio and Sergio are professional idlers, lazy, indolent and full of inventiveness. Maurizio is engaged to the policewoman Anna, of whom he is extremely jealous, Sergio still lives with his mother and Andrea is tyrannized by his wife and his brother-in-law, a former boxer. When a crew arrives in town to shoot a commercial, Andrea and Sergio meet two actresses; in the meantime, Maurizio is dumped by Anna. The three spend a large sum of money on a scratch card to travel to Sardinia in search of the actresses in the commercial.
Documented human suffering is never easy to view or read about and is understandably triggering for many people, but it can be educational, and education is a key to change. An overwhelming amount queer people worldwide (and in my own country) have it far worse than I could imagine, and documentaries such as Welcome to Chechnya bring issues to light that certain groups of people would never see.
In order to learn why an arguably outdated fanfic trope was resurfacing in the contact zone of popular culture, I dove into a vibrant trough of character development.
This powerful story shines with poetic animation, an exploration of deeper truths, and the protagonist's complex search for identity.
Middle school best friends reunite in middle age - Magalie is a chaotic free spirit “freeloader”, Blandine is a divorcée “sourpuss” with severe depression. The Palm Beach Film Festival opening night was glamorous for “Two Tickets to Greece”, the first screening of the French film in the United States.
Mark Anthony Green was unable to connect all of the pieces in his debut feature film, leaving Opus as a middling entry in an already oversaturated genre.
'Midnight at the Paradise' premieres tomorrow at Toronto's Paradise Theatre! I had the pleasure to sit down with Vanessa Matsui to discuss the making of this film.
