Table Of Content
- The best movies of 2023 — and where to find them
- ‘Past Lives’ 8. ‘The Eight Mountains’
- ‘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
- Dan Schneider Sues ‘Quiet on Set’ Producers for Defamation, Calls Nickelodeon Abuse Docuseries a ‘Hit Job’
- Anne Buresh Interior Design
My dining room brings my love of the world to my home with the custom-designed Paul Montgomery wall panels. It defines my wanderlust and desire to be in exotic, faraway places. The magical mix of flora and fauna that would never be found together in nature delights me. The English Room’s Holly Phillips shares with us a glimpse into her favorite room design, along with how her dining room was inspired and came together with a magical mix of flora and fauna.
The best movies of 2023 — and where to find them
A film like this needs time to establish the building blocks of the relationship and allow the breathing room necessary. Based on a slender, celebrated 2016 novel by the Italian writer Paolo Cognetti, “The Eight Mountains” tracks Pietro across both decades and continents, charting his life through the intense friendship that he makes in childhood with Bruno. They first meet in the summer of 1984, when Pietro’s parents — the family lives in Turin — rent an apartment in a village in the Aosta Valley, a shockingly beautiful swathe of the Italian Alps that borders both France and Switzerland. There, nestled among velvety green slopes and towered over by jagged, soaring peaks, Pietro finds a friend, an ally, a role model and, in time, a sense of belonging. The film tells the story of a close relationship between two young Italian boys who spent their childhoods together in a mountain village before going in different directions.
‘Past Lives’ 8. ‘The Eight Mountains’
Two British filmmakers with a fearless command of the medium ventured into the well-trod territory of World War II from chillingly oblique angles, raising tough new questions about culpability, deniability and cinematic representations of violence. In each story, a machinery of mass death is ruthlessly implemented, and a man realizes, with a blank stare into the void, the crucial role he has played in its devising. As news about the 2023 Cannes lineup begins to trickle in, American audiences are finally getting a chance to catch up on some of the films that played at last year’s festival. Felix van Groeningen and Charlotte Vandermeersch’s “The Eight Mountains” made waves when it competed for the Palme d’Or and won the Prix Jury prize in 2022, and now the film is just weeks away from premiering at arthouses in New York and Los Angeles.
‘All of Us Strangers’ 2. ‘The Boy and the Heron’
Felix, do you see that approach to music as similar to your other films? I always think about your use of “Sunrise, Sunset” from Fiddler on the Roof in Beautiful Boy, which at first had me skeptical but eventually won me over with its sincerity. Since you mentioned the music, how did you settle on your approach to using it in the film? There’s a real earnestness to the way it accompanies the action you depict, especially in montage, where so many filmmakers can use it as ironic or removed commentary on the action. Felix Van Groeningen and Charlotte Vandermeersch enter a new stage of their partnership, both professional and personal, through their co-direction of The Eight Mountains.
Review: In ‘Housekeeping for Beginners,’ a makeshift family evokes universal pain
In Andrew Haigh’s metaphysical heartbreaker “All of Us Strangers,” a lonely screenwriter (Andrew Scott, giving the performance of the year) falls for a handsome neighbor and reunites with his long-dead parents. In “The Boy and the Heron,” likely the final animated marvel from the 82-year-old Hayao Miyazaki (though we can hope otherwise), a boy ventures into a fantastical realm and reckons with his mother’s recent death. In both movies, painful memories become wondrous hallucinations, a tower becomes a portal between worlds, and questions of reality versus fantasy, or old versus young, blur into insignificance. Miyazaki asks us how we live; Haigh, with no less urgency, asks us how we love. The Belgian writer-directors Felix van Groeningen and Charlotte Vandermeersch keep the characters — and the movie — immersed in beauty as the children grow up, drift apart and reunite as adults. Working with the cinematographer Ruben Impens, they give you a sense of tangible place as they plot the area’s profound geometry, roam across its shimmering glacial snow and catch the backlit mist wreathing the mountains.
‘The Eight Mountains’ Review: A Stirring, Sprawling, Epic and Intimate Tale of Friends in High Places
In Art History and Communications from the University of Michigan, Magna Cum Laude. She then nurtured her love of design by working in the fashion industry in New York City with brands including Sam Edelman, Elle, and Rent the Runway, as well as projects for Tom Ford, Tommy Hilfiger, Swarovski, and Donna Karan. Her eclectic designs across multiple mediums are created through the juxtaposition of contemporary and vintage elements. With a keen focus on color, form, materiality, and texture, she creates uniquely composed compositions. Each project is a true collaboration with her clients in the process of creativity and artistry. Her work clearly shows those traditional southern vibes through light-colored palettes and old structures.
Dan Schneider Sues ‘Quiet on Set’ Producers for Defamation, Calls Nickelodeon Abuse Docuseries a ‘Hit Job’
“Cows Are Terrible to Work With”: DP Ruben Impens on The Eight Mountains - Filmmaker Magazine
“Cows Are Terrible to Work With”: DP Ruben Impens on The Eight Mountains.
Posted: Fri, 27 Jan 2023 08:00:00 GMT [source]
They started adapting the story, from Paolo Cognetti’s novel of the same name, during lockdown when their relationship was going through a rocky patch. With “existential questions” in the air, according to Van Groeningen, focusing on characters confronting themselves was apt. With over 15 years of experience on her plate, Tammy is one of the best Charlotte interior designers in the city. She has experience working with homeowners, contractors, custom home builders, other interior designers, contractors, and architects. She loves to have a more eclectic approach in her work, and you can see this from her experience.
At Cannes, critics praised the film’s attention to detail and the way it used elements of nature to conjure the feelings of magic that childhood friendships can create. It’s been a long time since Pietro has seen Bruno too; like so many childhood friendships, theirs faded as the two grew up and went their separate ways. The house is soon finished, and over time it becomes a place for them to reunite every summer, a high-altitude oasis amid lives often adrift in confusion and uncertainty.
One night, Pietro tells him about a Nepalese he met who described how the world consists of eight circular mountain ranges divided by eight seas, and at the center of it all is Mount Meru, the tallest mountain. Pietro asks Bruno whether the person who has visited the eight mountains and eight seas is more learned than the person who has scaled Mount Meru. Bruno identifies himself as being on Mount Meru and Pietro claims to be visiting the eight mountains and that he is more knowledgeable.
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.
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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