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He also learns that in his absence his father has continued to see Bruno. Eventually he finds Bruno in the mountains where his father has left a pile of rocks and wood on a slope intending to build a house. It becomes clear that while Pietro was alienated from his father, his father had become closer to Bruno.
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The following summer, Pietro returns to Grana with new friends including Lara, with whom he is briefly involved. Months later, Bruno calls Pietro to tell him that Lara is interested in working with him; Bruno and Lara soon become a couple and a daughter is born. No movies wielded a scalpel as fiercely or inventively as these two, though to wildly different ends. Lucien Castaing-Taylor and Véréna Paravel, veteran nonfiction avant-gardists (“Leviathan,” “Caniba”), took us on a truly fantastic voyage in “De Humani Corporis Fabrica,” their tour de force of eye-piercing, prostate-removing endoscopic horror. But fate reunites Bruno and Pietro as tough, bearded young men, played with subtlety and gentleness by Alessandro Borghi and Luca Marinelli. After a reticent, wary start Bruno suggests that, as neither have any work on, they spend an Alpine summer building a shack in the valley that will be their special place.
‘All of Us Strangers’ 2. ‘The Boy and the Heron’
‘The Eight Mountains’ Review: A Stirring, Sprawling, Epic and Intimate Tale of Friends in High Places - Variety
‘The Eight Mountains’ Review: A Stirring, Sprawling, Epic and Intimate Tale of Friends in High Places.
Posted: Wed, 18 May 2022 07:00:00 GMT [source]
Vandermeersch, primarily known for her work as an actress, had previously appeared in several of her husband’s other movies and received a screenplay collaboration credit on his Oscar-nominated The Broken Circle Breakdown. But as Van Groeningen began to approach shooting the adaptation of Paolo Coginetti’s novel that he’d co-written with his wife during pandemic lockdowns, he suggested that she join him in helming the film. Based on the award-winning Italian bestseller “Le Otto Montagne” by Paolo Cognetti, the movie is novelistic in the best sense. It immerses you in the world of its characters – both human and Alpine – on that chimingly deep level that usually only literature can access. But it lives and breathes in beautifully cinematic terms, with each one of Ruben Impens’ stunning academy-ratio pictures worth a thousand words. Although this classic bildungsroman may have been nipped and tucked in the transition from page to screen, in terms of scale and sweep and emotion, little appears to have been lost in translation.
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The precise nature of the men’s disquiet remains blurry, almost as if no one has ever seen an Antonioni film, though there are suggestions that the world beyond the valley — with its dirty air and noisy streets, its violence and politics — is a prime suspect. Yet even when that outside world bears down on Pietro and especially Bruno, the movie skitters away from messy, unpleasant particulars, which makes its painful passages easier to take but also blunts its impact. Both death and taxes take a heavy toll on the characters, exacting a cost that will make you weep even as the filmmakers smooth out the rough edges, crank the soulful tunes and turn their limpid gaze on a world that, alas, isn’t as beautiful as they seem to want it to be.
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The actors bring all the intelligence such heart-rending delicacy requires, too, as cinematographer Gábor Marosi foregrounds their faces in flatly lighted widescreen images evocative of a dimly lighted existence. With deep, melancholy eyes you can imagine inspiring a painter, Hajduk keeps Aldó’s sorrow ever-present, even in the hint of a smile; the way his worry for “Sunny” (Klára’s nickname) becomes a quiet engine in the film is a low-key master’s class. ” I’ve just logged in to Zoom to talk to Belgian directors Felix van Groeningen and Charlotte Vandermeersch, and they’re laughing already. ” says Vandermeersch I flap around, fiddling with my webcam, but nothing will correct the me-shaped smear on the screen.
‘Past Lives’ 8. ‘The Eight Mountains’
Diel’s signature style perfectly reflects the balance of the city of Charlotte. Her years of living in faraway lands have helped her create a signature style that all of her clients love. Although you’ll find that Geri has a more euro-centric approach to her work, from the architecture to the overall environment to the space, she keeps grabbing attention with her awe-inspiring work. That’s how I came to watch Andrew Haigh’s “All of Us Strangers,” for me the best movie of 2023, first in an empty screening room with only a tight-lipped Searchlight-hired security guard present. It’s a film so breathtaking in its impact, it actually hurt not to be able to talk about it for another few months. On a completely different note, I saw Jonathan Glazer’s “The Zone of Interest” at a morning press screening at Cannes and couldn’t get its images out of my mind or its sounds out of my ears.
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The two boys come from different worlds but are the only children in the village. They become friends instantly, out of convenience, but also because they throw themselves into shared activities with the easy trust children often have. They have an idyllic summer, wandering the steep slopes, swimming in a blue-green mountain lake, and at one point, hauling rocks into a stream to build a makeshift dam. Bruno and Pietro reunite every summer, picking up where they left off. Sometimes friendships formed in childhood are like that if we're lucky. It really helped us rediscover each other and see how complementary we are and trust each other’s instincts.
He meets Bruno (Cristiano Sassella), the self-described “last child in the village,” and through herding cows and clambering on rocks and splashing in clear mountain lakes, the two 11-year-olds bond quickly, despite radical differences in background and temperament. It’s not just quiet, polite Pietro who becomes fiercely attached to sturdy, capable Bruno. Once Pietro’s blustery factory-manager father (Filippo Timi) arrives to indulge his passion for mountaineering, the boy’s parents both take to Bruno too, so much so they offer to bring him back to Turin with them for schooling.
Bruno confronts Pietro with the aimlessness of his life and pushes him to help him build the house his father had wanted. Bruno plans to restore his uncle's pasture and continue living the life of a mountaineer, and encourages Pietro to follow his dream and write a book. An unusual pairing, to be sure, but one that for me makes a sad and sublime kind of sense.
While she’s based in Dilworth, most Mary’s clientele comes straight out of Charlotte. Mary and her firm Mary Tobias Miller Interior Design offers various services to commercial and residential clients. Sometimes you just want everyone to go away and leave you alone so you can finish that damn magnum opus, which is no small task when your more popular and acclaimed friends are constantly overshadowing you. The tetchiness of the creative temperament is on grand, empathetic display in “Showing Up,” Kelly Reichardt’s exquisitely observed art-world comedy, and “Afire,” Christian Petzold’s tense, biting tale of a working holiday gone awry. Both feature expert, vanity-free performances — from Michelle Williams and Thomas Schubert, respectively — playing such memorably self-serious grumps that you almost want to see them co-star in a crossover rom-com sequel. There’s nothing like watching a movie with an audience — and, as I realized a few months ago, there’s nothing like watching an audience watch a movie.
In Le Otto Montagne (The Eight Mountains) - and for their first selection In Competition - the Belgian filmmakers Felix Van Groeningen and Charlotte Vandermeersch explore the bonds that unite childhood friends over time. A film where the mountain stands out as a majestic backdrop to this unswerving relationship, portrayed on the screen by Luca Marinelli and Alessandro Borghi. Before long we’re with Bruno, Pietro and Giovanni on that prematurely aborted mountain climb — a visually stunning scene that drives home the most obvious difference between Bruno, the country boy entirely at ease outdoors, and Pietro, the city kid gasping for air. The scene also hints at a fast-forming bond between Giovanni and Bruno, a development that leaves Pietro on the outside looking in. He’s never really connected with his father, an unhappy engineer whose attitude shifts with his altitude; distant and distracted at sea level, he comes to life in these snowy heights. That erratic temperament is a turn-off for Pietro, who becomes ever more estranged from his father as a teenager (played, briefly, by Andrea Palma) and eventually an adult.
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