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The Traitor (2019) U.S. Movie Trailer: Sicilian Mafia Member Pierfrancesco Favino Betrays the Casa Nostra

  • Film-Book
The Traitor Trailer Marco Bellocchio‘s The Traitor / Il traditore (2019) U.S. movie trailer has been released by Sony Pictures Classics and stars Pierfrancesco Favino, Maria Fernanda Candido, Fabrizio Ferracane, Fausto Russo Alesi, and Luigi Lo Cascio. Plot Synopsis The Traitor‘s plot synopsis: “The Traitor starts in the early 1980’s, when an all-out war rages [...]

Continue reading: The Traitor (2019) U.S. Movie Trailer: Sicilian Mafia Member Pierfrancesco Favino Betrays the Casa Nostra
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New Us Trailer for Marco Bellocchio's Italian Mafia Drama 'The Traitor'

"You can't take money to the grave." Sony Pictures Classics has debuted a new official Us trailer for the Italian mafia drama The Traitor, originally titled Il Traditore, which first premiered at the Cannes Film Festival this year. It's stopping by the Toronto Film Festival next, then will be hitting Us theaters sometime in early 2020. The film tells the real story of Tommaso Buscetta, the so called "boss of the two worlds", who became the first mafia informant in Sicily in the 1980s. The film received mostly negative reviews out of Cannes, with critics saying that, "there's just no real perspective on Buscetta, which separates this brisk but uninvolving history lesson from the truly great mob movies." The film stars Pierfrancesco Favino, Luigi Lo Cascio, Fausto Russo Alesi, Maria Fernanda Cândido, Fabrizio Ferracane, Nicola Calì, and Giovanni Calcagno. This looks like an epic retelling of this big mafia trial, but perhaps a bit too indulgent.
See full article at FirstShowing.net »

The Traitor reigns triumphant at Italy’s Nastri d’Argento Awards - Awards - Italy

Marco Bellocchio’s film bagged seven prizes from the Italian film journalists, including Best Film and Best Director, while Leonardo D’Agostini and Valerio Mastandrea scooped Best Debut Directors. It really was Marco Bellocchio’s night on Saturday in Taormina’s Teatro Antico. The Traitor, the Piacenza-born director’s film on the subject of Tommaso Buscetta, which debuted in competition in Cannes this year and already triumphed at the Italian Golden Globes just a few days ago (read our news), was handed no less than seven awards (out of 11 nomination) by the Sngci – National Union of Film Journalists: Best Film, Best Director, Best Screenplay, Best Editing, Best Score, Best Actor (Pierfrancesco Favino) and Best Supporting Actor (Luigi Lo Cascio and Fabrizio Ferracane). In terms of the reigning women, Italy’s film journalists named Anna Foglietta and Marina Confalone best actresses, while...
See full article at Cineuropa »

Film News Roundup: Zach Galifianakis’ ‘Between Two Ferns: The Movie’ Coming to Netflix

  • Variety
Film News Roundup: Zach Galifianakis’ ‘Between Two Ferns: The Movie’ Coming to Netflix
In today’s film news roundup, “Between Two Ferns: The Movie” is unveiled, “Friedkin Uncut” gets a fall release and Sony Classics buys “The Traitor” at Cannes.

Movie Releases

Netflix has set a Sept. 20 release date for Zach Galifianakis’ “Between Two Ferns: The Movie,” based on his 11-year-old talk show.

Galifianakis made the announcement during a Netflix awards event with David Letterman on Thursday night. Galifianakis co-wrote the movie with Scott Aukerman, who’s directing the film.

Aukerman was the director of 14 of the 21 episodes of the talk show, which began in 2008 with an interview with Michael Cera. The most recent “Between Two Ferns” aired in 2018 with Jerry Seinfeld, Wayne Knight and Cardi B.

Aukerman and Galifianakis are producing with Funny or Die’s Caitlin Daley and Mike Farah. The logline involves the comedian and his crew taking a road trip to complete a series of high-profile celebrity interviews and restore his reputation.
See full article at Variety »

Cannes Film Review: ‘The Traitor’

  • Variety
Cannes Film Review: ‘The Traitor’
What surprises most about Marco Bellocchio’s Mafia drama “The Traitor” is just how straightforward it is. Given its subject — Tommaso Buscetta, the highest-ranking Mafia don to sing to the authorities — there were expectations that the director would deliver a theatrical drama along the lines of “Vincere,” but notwithstanding a few operatic flourishes, his latest seems to realize the built-in theatrical elements are already so histrionic that it’s best to play them as direct as possible. Consequently, “The Traitor” feels a bit too anonymous. It’s clearly made by a master filmmaker questioning the nature of repentance, and as such is far from superficial; and yet while it never loses our attention, it also doesn’t deliver much of a punch.

Non-Italian audiences may feel a bit overwhelmed at first by the avalanche of names, helpfully spelled out on screen, but the characters who matter come to the fore
See full article at Variety »

Top 150 Most Anticipated Foreign Films of 2019: #32. The Traitor – Marco Bellocchio

The Traitor

Italian auteur Marco Bellocchio, whose radical early works were a seminal part of 1960s and 1970s Italian cinema, embarks on his latest feature The Traitor, a biopic of Cosa Nostra member Tommaso Buscetta, the first high ranking official of the mafia organization to break their code of silence. Pierfrancesco Favino stars as Buscetta, joined by Brazilian actress Maria Fernando Candido, Luigi Lo Cascio, Fabrizio Ferracane and Fausto Russo Alesi. Oscar winning composer Nicola Piovani of 1998’s Life is Beautiful is writing the score and Vladan Radovic will serve as Dp. The feature is a four-country co-pro financed through Italy’s Ibc Movie, Kavac Film and Rai Cinema, while France’s Ad Vitam, Arte France Cinema and Canal Plus are also joined by Brazil’s Gullane and Germany’s Match Factory.…
See full article at IONCINEMA.com »

Brazil’s Maria Fernanda Candido to Star in Marco Bellocchio’s ‘The Traitor’ (Exclusive)

  • Variety
Brazil’s Maria Fernanda Candido to Star in Marco Bellocchio’s ‘The Traitor’ (Exclusive)
Brazilian actress and model Maria Fernanda Candido is to play the female lead in veteran Italian auteur Marco Bellocchio’s “The Traitor,” a biopic of Tommaso Buscetta, the first high-ranking member of Cosa Nostra to break the Sicilian Mafia’s oath of silence.

Candido, who most recently starred in Rede Globo’s popular prime-time soap “Edge of Desire,” will play Buscetta’s third wife, Maria Cristina de Almeida Guimaraes, the daughter of an upper-crust Brazilian lawyer. She played an important part in her husband’s decision in 1984 to start cooperating with Italian and, later, American prosecutors.

She is believed to have been crucial in prompting Buscetta to turn against the Corleonesi faction in the first major “betrayal” within Cosa Nostra’s high-ranks. Buscetta’s testimony about heroin smuggling in the ”pizza connection” case in the mid-1980s allowed him to obtain U.S. citizenship and a place in the witness protection program.
See full article at Variety »

Movie Review – Black Souls (2015)

Black Souls, 2015.

Directed by Francesco Munzi.

Starring Marco Leonardi, Peppino Mazzotta and Fabrizio Ferracane.

Synopsis:

The story of three brothers, the sons of a shepherd, close to the ndrangheta and of their divided souls.

Tantalisingly steady in its pace, Black Souls toys with the idea of classical Mafia crime drama, subverting its stereotypical themes for moments that question the allure that violence, ambition and revenge bring to film. Director Francesco Munzi’s (Saimir, The Rest of the Night) cinematic adaption of Joachim Criaco’s novel, Black Souls, pays as much attention to character development as a Shakespearean theatre production would, resulting in a genuinely in-depth picture that intensifies slowly but consistently minute by minute.

Despite being such an ambitious work, Munzi’s plot draws dangerously close to becoming stagnant. However, through its dramatically captivating character development and stunningly distractive cinematography, Black Souls rewards its audience with a conclusion that shocks and satisfies its viewers.
See full article at Flickeringmyth »

Black Souls review – gripping Italian crime drama

Francesco Munzi’s tale of a Calabrian mob family at war is sombre and spare

Don’t say mafia, say ’ndrangheta – the Calabrian crime network that is the subject of Francesco Munzi’s gripping drama, as sombre as its title suggests. This is a dynastic tale that gets more claustrophobic as it develops, as its web of vendetta-style recriminations closes in on the Carbone clan, goat farmers who have diversified into riskier and more profitable businesses.

The film focuses on the differences of character between the Carbone brothers: Luigi (Marco Leonardi), the hard man out in the field; urbane Rocco (Peppino Mazzotta), who lives a seemingly respectable bourgeois lifestyle in Milan; and older brother Luciano (Fabrizio Ferracane), who’d rather tend his herd than continue the old cycle of bloodshed. But when Luciano’s tearaway son makes a rebellious gesture, matters move inexorably towards an outcome that could be called operatic,
See full article at The Guardian - Film News »

Mexican Oscar-Winning Filmmaker to Head Top Venice Jury: 3D Disaster Thriller to Open Fest

'Everest' 2015, with Jake Gyllenhaal at the Venice Film Festival. What global warming? Venice Film Festival 2015 jury: Oscar winner Alfonso Cuarón president The 2015 Venice Film Festival, to be held Sept. 2–12, has announced the members of its three main juries: Venezia 72, Horizons, and the Luigi De Laurentiis Award for Best Debut Film. In case you're wondering, “Why Venezia 72”? Well, the simple answer is that this is the 72nd edition of the festival. Looking at the lists below, you'll notice that, as usual, Europeans dominate the award juries. The only two countries from the Americas represented are the U.S. and Mexico, and here and there you'll find a sprinkling of Asian film talent. Golden Lion jury The Golden Lion – Venezia 72 Competition – jury is comprised by the following: Jury President Alfonso Cuarón, the first Mexican national to take home the Best Director Academy Award (for the Sandra Bullock-George Clooney
See full article at Alt Film Guide »

Premieres galore at Sydney Film Festival

Neil Armfield.s Holding the Man, Simon Stone.s The Daughter, Jeremy Sims. Last Cab to Darwin and Jen Peedom.s feature doc Sherpa will have their world premieres at the Sydney Film Festival.

The festival program unveiled today includes 33 world premieres (including 22 shorts) and 135 Australian premieres (with 18 shorts) among 251 titles from 68 countries.

Among the other premieres will be Daina Reid.s The Secret River, Ruby Entertainment's. ABC-tv miniseries starring Oliver Jackson Cohen and Sarah Snook, and three Oz docs, Marc Eberle.s The Cambodian Space Project — Not Easy Rock .n. Roll, Steve Thomas. Freedom Stories and Lisa Nicol.s Wide Open Sky.

Festival director Nashen Moodley boasted. this year.s event will be far larger than 2014's when 183 films from 47 countries were screened, including 15 world premieres. The expansion is possible in part due to the addition of two new screening venues in Newtown and Liverpool.

As previously announced, Brendan Cowell
See full article at IF.com.au »

Review: 'Black Souls' is a Sobering and Sharply Executed Twist on the Mob Genre

In places where opportunities and hope are harder to obtain than a loaded gun, the glorification of a seemingly effortless and powerful criminal lifestyle is engraved deeply into the youth’s psyche like a poisonous spell. Irremediably, it becomes their most tangible aspiration. Kids there do not dream of becoming doctors, lawyers or teachers, but drug dealers, murderers, or gangsters who walk through life intoxicated by the fear of others disguised as respect. It’s just the same in a rough American neighborhood, a Mexican border town, a war torn African capital, or an isolated village in the Italian countryside.

Is in this last setting that director Francesco Munzi unfolds “Black Souls” (Anime Nere), an understated mafia tale that is brutally unflinching and sobering when distilling the built-in conventions of the genre and reapplying them in a powerfully stark manner. First, Munzi takes us on a short trip to the high-stakes world of international drug trafficking and the money laundering schemes that fueled it. Brothers Luigi (Marco Leonardi) and Rocco (Peppino Mazzotta) manage the operation as a family business each with a distinct approach to getting things done. Luigi is the threatening brute that’s willing to get his hands dirty, while Rocco prefers to be as diplomatic as the drug underworld allows. But just as we are prompted to believe the film will follow on the footsteps of countless predecessors, the perspective shifts to a much more intimate, almost pastoral, look at the unbreakable ties and honor-driven feuds between opposite families within the same criminal microcosm: the Calabrian hills in southern Italy.

Making a humble living from farming and raising cattle, Luciano (Fabrizio Ferracane), the eldest sibling in the dynasty, disapproves of his younger brothers lifestyle, which he left behind years ago. But in spite of his father’s evident disdain for his siblings’ violent ways, Luciano’s son Leo (Giuseppe Fumo), a teenage boy full of senseless bravado and thirst for retribution, admires his uncle Luigi ‘s status as an authority figure within the community. Projecting fearlessness and absolute dispassion to be part of the gang, Leo grows detached from his father and begins partaking in the increasingly dangerous disputes with their adversaries. With Luigi back in town, old grudges resurfacing, and Leo’s reckless ability to start trouble, tragedy permanently lurks over the entire clan.

This perpetual feeling of an imminent disaster approaching is what makes the film a restrained and potent statement. Intelligently, the filmmaker chooses unnerving tension over gruesome imagery. Of course, violence is unavoidable in a story like this, but those scenes are much more effective because of their importance in the layered emotional landscape presented. Pride is a boundless catalyst for hatred, and that’s what motivates the individuals here to die in the name of their lineage. Leo loses respect for his father because the promise of easy cash and overall badassery is exponentially more enticing than arduously working the land. Luciano is a coward in his son’s eyes for wanting to live a peaceful life, but the man can hardly experience that as he is caught up in between his brothers’ unfinished business and preventing Leo from following their path. It’s all the subtext that is embedded in every interaction that keeps “Black Souls” from becoming predictable, and instead asks us to ponder on the complex set of characters on screen.

Hauntingly somber, but all the more enthralling because of it, Vladan Radovic’s cinematography inconspicuously contributes to Munzi’s exploration of human darkness. A prime example of its gloomy appeal is a funeral sequence that centers both on a mother grieving her son, and the inevitably brutal consequences of the event. However, although a viscerally serious tone permeates the film, Munzi and Radovic were clever enough to capture beautiful moments of rural life that give “Black Souls” a timeless atmosphere: Luigi singing a traditional tune for the sheer joy of singing or Luciano walking among the ruins of an ancient church quietly denoting his religious devotion. Such glimpses of vulnerability create a mob film that is more concerned with the subtleties beneath the gunshots.

Indispensable for an ensemble piece like “Black Souls,” the entire cast, even those in minimal roles, is made up of a group of actors capable of refraining from ostentatious performances and focusing on the characters’ essential, nuanced qualities. Their conflicts are so profoundly intertwined that a weak link would have been problematic. Still, among these talented group, Fabrizio Ferracane as Luciano gives the most quietly compelling performance as a father, a brother, and a son who can’t recognize himself anymore or fit in among those around him. Ultimately, Ferracane steals the film in the riveting and shocking conclusion.

“Black Souls” delivers a gutsy twist on the tiresome works that showcase villains as stars and their feats as heroic. Munzi offers authenticity and poignancy ignoring our expectations and portraying his characters as deeply misguided people for whom loyalty is a golden asset and death is a common outcome. His film is about unspoken rules and unforgivable transgressions that might appear irrational to the outsider, but unquestionable to those involved.

"Black Souls" is now playing in NYC and opens in Los Angeles on April 24th.

Director Francesco Munzi will be doing a Skype Q&A from Rome, Italy on Saturday 4/18 at both the Angelika Film Center in NYC (after the 7:30 pm show) & at the Angelika Film Center in Fairfax, Va (after the 8pm show).

For all the play dates and theaters across the U.S. visit Here
See full article at SydneysBuzz »

Black Souls Is a Mesmerizing New Italian Gangster Film

  • Vulture
Black Souls Is a Mesmerizing New Italian Gangster Film
Don't be alarmed if you feel a little lost during the early scenes of the somber new gangster film Black Souls. Director Francesco Munzi lets his tragic narrative unfold gradually and subtly, like a neo-neorealist take on The Godfather. There's a good reason for this: He wants to show us his individual characters — all members of the Carbone family – in their different environments. And at first, this isn't quite the Mafia we recognize from movies. There's a mundane quality to this business: We see Rocco (Peppino Mazzotta), the boss, getting cash from his bankers so he can pay his men (many of whom, we may notice, have Middle Eastern names); we see his loose-cannon brother Luigi (strong-jawed Marco Leonardi — who was once the fresh-faced teenage Toto in Cinema Paradiso) negotiating some kind of deal with a group of Spaniards; we see Luciano (Fabrizio Ferracane), the oldest, who wants
See full article at Vulture »

Watch The New Clip From Black Souls (Anime Nere)

In his review of Vitagraph Films’ Black Souls (Anime Nere), Travis Keune wrote the movie is, “a richly deep story about an unconventional “family business” that conjures up the essence of The Godfather but distances itself even further from the genre stereotypes than just about any film we’ve seen in recent years.”

Read the rest of the review here and check out the brand new clip.

Based on real events described in Gioacchino Criaco’s novel, Black Souls (Anime Nere) is a tale of violence begetting violence and complex morality inherited by each generation in rural, ancient Calabria, a reallife mafia (‘Ndrangheta) seat in Southern Italy.

The Carbone family consists of three brothers, Luigi (Marco Leonardi) and Rocco (Peppino Mazzotta) who are engaged in the family business of international drug trade and Luciano (Fabrizio Ferracane) who has remained in the ancestral town of Africo in the Aspromonte mountains on the Mediterranean coast – herding goats.
See full article at WeAreMovieGeeks.com »

Black Souls and Broken Horses Suggest You Can’t Pick Your Crime Family

Crime and families (and crime families) have been a part of international cinema for years with movies as diverse as The Godfather, Animal Kingdom and The Raid all touching on the subject to varying degrees. Two new far lower profile films head into theaters this week, and while neither reach the heights of the ones just mentioned they’re both worthy additions to the sub-genre as they explore the deadly ramifications of mixing blood relatives with bloodletting. You can pick your friends, but it turns out you can’t pick your crime family. ————————————————- Three adult men, brothers, have moved on from the grief over their father’s murder to focus on what makes them happy. Rocco (Peppino Mazzotta) is a businessman, at least on the outside, who runs a drug and crime empire from his snazzy Milan apartment while Luigi (Marco Leonardi) participates with a far more hands-on approach. The
See full article at FilmSchoolRejects »

Black Souls – The Review

Like many genre films, the category of mafia films is often branded with certain expectations. Granted, not all of these films are created equal, but we generally expect to see lots of violence and/or lots of foul language and Hollywood stereotypes. Where Black Souls succeeds is in refusing such stereotypes and telling a richly deep story about an unconventional “family business” that conjures up the essence of The Godfather but distances itself even further from the genre stereotypes than just about any film we’ve seen in recent years.

Director Francesco Munzi’s Black Souls (“Anime nere” in Italian) maintains a nearly unprecedented level of dignity for its type. The film tells the story of three brothers closely connected to N’drangheta, a mafia-like criminal organization based out of Calabria. These three brothers, sons of a shepherd, have differing views on their relationships with N’drangheta, which plays a
See full article at WeAreMovieGeeks.com »

Sibling Riflery: Black Souls e eccezionale

“You’re dressed like a shepherd!” Driving around Milan, middle-aged Luigi Carbone (an unrecognizable Marco Leonardi, of Like Water for Chocolate fame) affectionately disparages his 20-year-old nephew, Leo (Giuseppe Fumo), before planting him in a job in his own industry. The only child has fled a Calabrian farm and the father who runs it, Luciano (Fabrizio Ferracane, master of fluctuating facial tics), who is Luigi’s oldest brother. Leo hopes for an exciting and lucrative life better tailored to his needs than herding: working with Luigi, his idol, Uncle Rocco (Peppino Mazzotta), and their childhood pal and staunch ally, Nicola (Stefano Priolo). […]
See full article at Filmmaker Magazine_Director Interviews »

Sibling Riflery: Black Souls e eccezionale

“You’re dressed like a shepherd!” Driving around Milan, middle-aged Luigi Carbone (an unrecognizable Marco Leonardi, of Like Water for Chocolate fame) affectionately disparages his 20-year-old nephew, Leo (Giuseppe Fumo), before planting him in a job in his own industry. The only child has fled a Calabrian farm and the father who runs it, Luciano (Fabrizio Ferracane, master of fluctuating facial tics), who is Luigi’s oldest brother. Leo hopes for an exciting and lucrative life better tailored to his needs than herding: working with Luigi, his idol, Uncle Rocco (Peppino Mazzotta), and their childhood pal and staunch ally, Nicola (Stefano Priolo). […]
See full article at Filmmaker Magazine »

Black Souls | Review

Now I Lay Me Down to Kill: Munzi’s Enjoyably Reserved Mafia Film

Premiering last fall at the 2014 Venice Film Festival, where it picked up a handful of prizes, Francesco Munzi’s third film, Black Souls, is a deliberately paced examination of familiar mafia standards. Based on a novel by Giacchino Criaco, it’s bound to be compared (and perhaps exist within the shadow of) Matteo Garrone’s highly celebrated 2008 feature, Gomorrah. But Munzi’s film is equally convincing, lending an austere sense of realism to what otherwise plays like a classic theatrical tragedy of three brothers at odds, locked in opposition and contention with the heavy baggage of their lineage. Light on dialogue and heavy on brooding characters marinating in their own mistrust or disdain of one another, it’s a successfully engaging film, but despite an enjoyably dire finale, isn’t as memorable as some modern comparative material.
See full article at IONCINEMA.com »

Black Souls Is a Superior Italian Gangster Movie

Black Souls Is a Superior Italian Gangster Movie
The makers of Black Souls, a superior Italian gangster movie, deserve praise for executing with atypical sensitivity a generic times-are-changing/nostalgia-for-an-imaginary-chivalrous-yesteryear scenario. Like most post-Godfather Mafia dramas, Black Souls concerns an ambivalent protagonist — in this case, gruff goat-herder Luciano (Fabrizio Ferracane) — who has a love/hate relationship with his family's unspoken, honor-bound traditions. Luciano, the eldest of three brothers, cares for siblings Rocco (Peppino Mazzotta) and Luigi (Marco Leonardi). But Luciano doesn't want anything to do with their drug-smuggling business or their shaky alliance with Don Peppe, the man who killed Luciano's father. Luciano is forced to do something after his trigger...
See full article at Village Voice »
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