Hollywood, with its lengthy list of Jewish founders, flourished during an era of rampant antisemitism. In recent years, the Anti-Defamation League has said anti-Jewish sentiment has hit levels unseen since after the Great Depression, a time when Jewish studio moguls had difficulty securing bank loans as many lenders would not work with Jews. Now, in Los Angeles specifically, an Adl report (released months before the Israel-Hamas conflict) found harassment and vandalism increasing to highs.
On Nov. 8, the Los Angeles Museum of Tolerance hosted a screening of footage produced by Hamas to brag about murdering Jews. During the screening, the head of the Museum of Tolerance, Rabbi Marvin Hier, reminded viewers that if not for atrocities like the one on Oct. 7, the Jewish global population should be 200 million today, but “there are only 14 million because we are the leftovers of pogroms.” The screening, organized in part by Gal Gadot, saw protestors...
On Nov. 8, the Los Angeles Museum of Tolerance hosted a screening of footage produced by Hamas to brag about murdering Jews. During the screening, the head of the Museum of Tolerance, Rabbi Marvin Hier, reminded viewers that if not for atrocities like the one on Oct. 7, the Jewish global population should be 200 million today, but “there are only 14 million because we are the leftovers of pogroms.” The screening, organized in part by Gal Gadot, saw protestors...
- 11/27/2023
- by Chris Yogerst
- The Hollywood Reporter - Movie News
(Roberto Rossellini, 1945-48; BFI, 15; Blu-ray)
The term neorealism was first widely used in the late 1940s to describe what became the most famous and influential film movement. It sprang up in Italy as a reaction against the artificiality of the so-called “white telephone” school of upper-class comedies and melodramas then popular under fascism, favouring instead naturalistic pictures shot on authentic locations using non-professional actors. Luchino Visconti’s gritty Ossessione (1943) is usually identified as the first genuine example. But the name that will always be associated with neorealism is Roberto Rossellini, and most especially his Rome, Open City (1945) and Paisà (1946), two rough, grainy movies set in Italy during the second world war. They helped change the face of world cinema and, with Germany Year Zero (1948), set in the ruins of postwar Berlin, came to be known as his War Trilogy.
Born in Rome, where his father’s construction firm put up...
The term neorealism was first widely used in the late 1940s to describe what became the most famous and influential film movement. It sprang up in Italy as a reaction against the artificiality of the so-called “white telephone” school of upper-class comedies and melodramas then popular under fascism, favouring instead naturalistic pictures shot on authentic locations using non-professional actors. Luchino Visconti’s gritty Ossessione (1943) is usually identified as the first genuine example. But the name that will always be associated with neorealism is Roberto Rossellini, and most especially his Rome, Open City (1945) and Paisà (1946), two rough, grainy movies set in Italy during the second world war. They helped change the face of world cinema and, with Germany Year Zero (1948), set in the ruins of postwar Berlin, came to be known as his War Trilogy.
Born in Rome, where his father’s construction firm put up...
- 5/7/2015
- by Philip French
- The Guardian - Film News
The highlight of the Barbican’s Michelangelo Antonioni Directorspective have arguably been the screenings of L’avventura (1960) and La notte (1961), the first two films of what has been described by critic Philip French as the “The Antonioni Walk,” an unofficial, loose trilogy of modernist films that explore the existential crisis of rich, beautiful characters who are bored with their lives.
On the 20 February at 4.00pm the Barbican will screen the final chapter in the trilogy, L’eclisse (1964). These three films, although often termed as a trilogy, are not linked by plot but rather by the theme of the banality and pointlessness of human existence. This is typical of Antonioni, who described his films as follows:
“I never discuss the plots of my films. I never release a synopsis before I begin shooting. How could I? Until the film is edited, I have no idea myself what it will be about.
On the 20 February at 4.00pm the Barbican will screen the final chapter in the trilogy, L’eclisse (1964). These three films, although often termed as a trilogy, are not linked by plot but rather by the theme of the banality and pointlessness of human existence. This is typical of Antonioni, who described his films as follows:
“I never discuss the plots of my films. I never release a synopsis before I begin shooting. How could I? Until the film is edited, I have no idea myself what it will be about.
- 2/16/2011
- by Daniel Green
- CineVue
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