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Lina Wertmüller, the first woman to be nominated for a directing Oscar, dies

Jacob Scott

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Wertmüller made films that were both debased and staunch in their moral standing, condemned and adored, with pitch-black endings preceded by comedic beats.

The last two came from Wertmüller herself.

“I think I have two souls,” Wertmüller told Criterion in 2017 ahead of a retrospective of her films. “One is playful, ironic, with a sense of humor. The other is in contact with the dramatic face of life and human problems around the world. The two natures live in me and never abandon me. My films might reflect this personality unconsciously.”

Her films were divisive, but she found an international audience: She was the first woman to be nominated for a best director Oscar for her film “Seven Beauties.”

Her films were politically minded sex farces

Wertmüller began her career in drama believing she was going to be an actress, studying at the Pietro Sharoff Theatre Academy. She quickly realized, she told Interview Magazine, that directing was where her talents resided.

Friends introduced her to the revered filmmaker Federico Fellini, with whom she worked on “8 ½” as his assistant director. She went on to shoot her first film, “The Lizards,” with many of the crew members she met on “8 ½.”

But it wasn’t until “The Seduction of Mimi” that her films began to receive international acclaim. In the film, a disenfranchised worker falls in love with communism and a woman who isn’t his wife, loses his politics along the way, commits adultery more than once and ends up single, the father (or father figure) of a few children. It starred frequent collaborators Giancarlo Giannini and Mariangela Melato.

RogerEbert.com’s Charles Bramesco said her films, political commentary disguised as sex farces (with an emphasis on the sex), “titillated and scandalized audiences.”

Wertmüller told Bramesco in 2017 that “there’s no doubt that sensuality and eroticism are part of Italian cinema.” But she used sexuality as a lens through which to explore class dynamics and gender politics.

In 1974’s “Swept Away,” she pitted a wealthy woman on vacation against the shiphand who despises her politics, then reverses their power dynamic when the pair becomes castaways. The movie was later remade by Guy Ritchie, starring his then-wife Madonna, and widely panned.

In “Seven Beauties,” her international breakthrough set during World War II, a knave murders, rapes and escapes his way through the war to apparently save his family’s honor only for his efforts to come to naught. The movie earned her four Oscars nominations in 1977, including her historic nod for best director and best original screenplay.

Her characters were often people who lost their politics or morals or were willing to abandon them with little thought. That they were easy to poke fun at and often detestable (especially the chauvinistic men) was the point, she told Interview: “Irony is my faithful companion. It helps me to underline vices and defects of the human being.”

She courted controversy for difficult themes

Of course, with such subject matter came controversy. Though Wertmüller identified as a socialist, the political bent of her films was sometimes unclear to critics, and her female characters were often portrayed in scenes of graphic sexual assault. Wertmüller decried the criticism she received from feminists and film writers, including the New Yorker’s Pauline Kael, and repeatedly said she did not identify as a feminist.
After her English-language debut, “A Night Full of Rain,” flopped, she said Warner Bros. canceled her contract with the studio. She returned home to Italy and to the filmmaking community she felt gave her more creative freedom, she told Variety in 2019.

“I can just say that many of my movies talk about social issues that are still present,” she said in the interview with RogerEbert.com. “That means that probably they could still speak nowadays.”

At the time of her 2017 interviews, she hadn’t made a film in over a decade, but she had appeared as the subject of a documentary released that year — “Behind the White Glasses.” She also directed a production of “Macbeth” that year.

In 2019, she received a star on the Hollywood Walk of Fame and received an honorary Oscar.

In a memorable moment, she announced in Italian, translated onstage by Isabella Rosselini, she’d like to rename the statue “Anna.”

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‘Moon Knight’ Took Marvel in a Different Orbit, but It Didn’t Rise to the Occasion

Jacob Scott

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Before anyone writes that off as an anomaly, “Eternals” tackled a similar introduction of a dense mythology on the bigger screen, with equally mixed results. It’s a reminder that while film-goers have had more than a decade to get to know characters like Iron Man, Captain America and Thor, introducing some of these lesser-known heroes can pose a more formidable challenge beyond catering to the most ardent fans.
For Marvel, there are warning signs in that, since “Moon Knight” will be followed by several series based on second-tier characters, although the next two on the horizon, “Ms. Marvel” (which is due in June) and “She-Hulk,” at least have the benefit of sharing franchises and name recognition with existing Avengers.
Ultimately, “Moon Knight’s” murky storytelling appeared to squander its principal assets, which included the cool look of the character — a costume that was too seldom used — and the presence of Isaac, who possesses additional genre credentials via the “Star Wars” sequels.

Taking its time in peeling back the layers of the character’s complicated backstory, “Moon Knight” took a weird plunge into the Egyptian mythology behind it, in ways that became increasingly confounding and surreal.

By the time the protagonist’s two halves, Steven Grant and Marc Spector, wound up in a psychiatric hospital talking to an anthropomorphic hippo in the penultimate chapter, the question wasn’t so much being able to keep up with the story as whether bothering to do so was worth the effort.

The sixth and final episode brought the plot to a messy close, seeking to stop the goddess Ammit from proceeding to “purify the souls of Cairo, and then the world.” In the customary credit sequence, the producers capped that off by introducing a third personality, Jake Lockley, also rooted in the comics. While that seemingly spelled the end for the show’s villain (Ethan Hawke), the finish — giving the god Khonshu the protégé he sought — paved the way for further adventures should Marvel so choose.

That last twist might be cause for celebration in narrower confines of the Marvel fan universe, but “Moon Knight” too often felt like it was one long Easter-egg sequence, conspicuously preaching to that choir.

Granted, Marvel has made clear that Disney+ offers the chance to explore different kinds of stories, but “Moon Knight” feels at best like a quirky showcase for Isaac and at worst a failed experiment in terms of execution and tone.

That doesn’t mean this “Moon” won’t somehow rise again, if the closely held streaming data justifies it. But the promise that surrounded this property has faded, providing further evidence that even Marvel isn’t immune from setbacks as it moves into its next phase.

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Start-up Pony.ai says it’s the first self-driving company to get a taxi license in China

Jacob Scott

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Autonomous driving start-up Pony.ai can collect fares for robotaxi rides in parts of two major Chinese cities as of Sunday.

Pony.ai handout

BEIJING — Self-driving start-up Pony.ai announced Sunday it received a taxi license, the first of its kind in China.

The license allows Pony.ai to operate 100 self-driving cars as traditional taxis in the Nansha district of the southern city of Guangzhou, the company said.

The Chinese start-up, which is backed by Toyota, received approval from Beijing city late last year to charge fees to operate a commercial robotaxi business in a suburban district of the city. It is not the same as a taxi licence.

Baidu’s Apollo Go also received approval in the same Beijing district last year.

Pony.ai was valued at $8.5 billion in early March. The company said its Nansha taxi license required 24 months of autonomous driving testing in China and/or other countries, and no involvement in any active liability traffic accidents, among other factors.

The start-up said it plans to launch commercial robotaxi businesses in two other large Chinese cities next year. The company is already testing self-driving cars in those cities and in California. 

Robotaxis in China currently have a human driver present for safety.

— CNBC’s Arjun Kharpal contributed to this report.

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How to watch Timberwolves vs. Grizzlies: TV channel, NBA live stream info, start time

Jacob Scott

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Who’s Playing

Memphis @ Minnesota

Current Records: Memphis 2-1; Minnesota 1-2

What to Know

The Memphis Grizzlies’ road trip will continue as they head to Target Center at 10 p.m. ET this past Saturday to face off against the Minnesota Timberwolves. Memphis will be strutting in after a win while Minnesota will be stumbling in from a loss.

The Grizzlies are hoping for another victory. They beat the Timberwolves 104-95 this past Thursday. The victory came about thanks to a strong surge after the first quarter to overcome a 39-21 deficit. Memphis’ success was spearheaded by the efforts of power forward Brandon Clarke, who had 20 points in addition to eight rebounds, and shooting guard Desmond Bane, who shot 7-for-15 from beyond the arc and finished with 26 points and six boards.

Barring any buzzer beaters, Memphis is expected to win a tight contest. They might be worth taking a chance on against the spread as they are currently on a two-game streak of ATS wins.

Memphis’ win brought them up to 2-1 while the Timberwolves’ defeat pulled them down to a reciprocal 1-2. A couple offensive stats to keep in the back of your head while watching: The Grizzlies come into the game boasting the second most points per game in the league at 115.6. But Minnesota is even better: they rank first in the league when it comes to points per game, with 115.9 on average. Tune in for what’s sure to be a high-scoring contest.

How To Watch

When: Saturday at 10 p.m. ET Where: Target Center — Minneapolis, Minnesota TV: ESPN Online streaming: fuboTV (Try for free. Regional restrictions may apply.) Follow: CBS Sports App Ticket Cost: $76.96

Odds

The Grizzlies are a slight 2.5-point favorite against the Timberwolves, according to the latest NBA odds.

The oddsmakers had a good feel for the line for this one, as the game opened with the Grizzlies as a 3-point favorite.

Over/Under: -110

See NBA picks for every single game, including this one, from SportsLine’s advanced computer model. Get picks now.

Series History

Memphis have won 19 out of their last 28 games against Minnesota.

Apr 21, 2022 – Memphis 104 vs. Minnesota 95 Apr 19, 2022 – Memphis 124 vs. Minnesota 96 Apr 16, 2022 – Minnesota 130 vs. Memphis 117 Feb 24, 2022 – Minnesota 119 vs. Memphis 114 Jan 13, 2022 – Memphis 116 vs. Minnesota 108 Nov 20, 2021 – Minnesota 138 vs. Memphis 95 Nov 08, 2021 – Memphis 125 vs. Minnesota 118 May 05, 2021 – Memphis 139 vs. Minnesota 135 Apr 02, 2021 – Memphis 120 vs. Minnesota 108 Jan 13, 2021 – Memphis 118 vs. Minnesota 107 Jan 07, 2020 – Memphis 119 vs. Minnesota 112 Dec 01, 2019 – Memphis 115 vs. Minnesota 107 Nov 06, 2019 – Memphis 137 vs. Minnesota 121 Mar 23, 2019 – Minnesota 112 vs. Memphis 99 Feb 05, 2019 – Memphis 108 vs. Minnesota 106 Jan 30, 2019 – Minnesota 99 vs. Memphis 97 Nov 18, 2018 – Memphis 100 vs. Minnesota 87 Apr 09, 2018 – Minnesota 113 vs. Memphis 94 Mar 26, 2018 – Memphis 101 vs. Minnesota 93 Dec 04, 2017 – Memphis 95 vs. Minnesota 92 Feb 04, 2017 – Memphis 107 vs. Minnesota 99 Nov 19, 2016 – Memphis 93 vs. Minnesota 71 Nov 01, 2016 – Minnesota 116 vs. Memphis 80 Oct 26, 2016 – Memphis 102 vs. Minnesota 98 Mar 16, 2016 – Minnesota 114 vs. Memphis 108 Feb 19, 2016 – Memphis 109 vs. Minnesota 104 Jan 23, 2016 – Minnesota 106 vs. Memphis 101 Nov 15, 2015 – Memphis 114 vs. Minnesota 106

Injury Report for Minnesota

No Injury Information

Injury Report for Memphis

Dillon Brooks: Game-Time Decision (Foot) Santi Aldama: Out (Knee) Killian Tillie: Out (Knee)

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