The few things that A Single Man and Nocturnal Animals have in common (Tom Ford’s first and second movie) are hair and interiors, as to say a red-haired woman, unsatisfied with her marriage with betrayal, who messes around in insane luxurious houses.
“What did we forget?”. These are Lenny Belardo’s words (Jude Law) that appear as a leitmotive in the first two passionate episodes of The Young Pope, a short series made up of 10 episodes, directed by Paolo Sorrentino, which will be shown on TV on October, 21st, on Sky Atlantic, while will be broadcasted on HBO on February, 2017.
Ai film italiani chiediamo sempre di più che ai film stranieri. Lo lamentano spesso produttori e autori di film, è evidente nelle reazioni veementi nel pubblico e spesso lo si desume anche dalle recensioni: ad un film italiano, specie se realizzato da qualcuno di noto, non si perdona quel che gli si perdonerebbe fosse spagnolo, francese o, figuriamoci, americano. Ed è normale.
We always ask Italian movies for more than what we demand to foreign ones. Often, producers and authors complain about it, it’s evident in the provocative reactions of the audience and can be deduced even in reviews: what we can forgive to a Spanish, French or American movie it’s unforgivable if the film is Italian, especially if made by somebody famous. And it’s normal.