Tag Archives: film

~ gisele for chanel ~

16 Oct

The full three-minute video directed by Baz Luhrmann is here. Are you ready…?

Before… go behind the scenes on the epic new advert also directed by him.

Ok… Are you ready for some action now? Enjoy…!

(Images via here)

~ iconic shoes in iconic films ~

15 Dec

Which one would you buy?

( via here )

~ “Breakfast at Tiffany’s” turned 50 ~

9 Oct

Fifty years ago, cinema’s original manic pixie dream girl lit up the silver screen. The film adaptation of Truman Capote’s “Breakfast at Tiffany’s,” starring Audrey Hepburn as the fun-loving call girl Holly Golightly, was released on Oct. 5, 1961 — and it has influenced fashion and romantic comedy ever since.

The role was Hepburn’s most iconic. She’ll forever be associated with a little black dress, oversize sunglasses, a tiara and faraway look in her eyes. It’s hard to think that the role almost was given to Marilyn Monroe. But it was the gamine Hepburn who made the Givenchy-clad Holly one of the most famous cinematic images of the 20th century. Decades later, Hepburn’s Holly Golightly still captivates — perhaps because she was so far ahead of her time. Before Carrie Bradshaw showed women what single city life and sexual freedom could be like, Golightly did it — and years before the birth control pill was made accessible. She didn’t have much money, but she could dress like a million bucks. She was guarded with her emotions, because she valued her freedom over everything else. The fact that she is also a prostitute who shoplifts and consorts with mobsters is, of course, played down.

We absolve Holly Golightly of all of her sins, because she more than makes up for them with her charm and glamour. As ditzy and callous as she could be, she was a girl who just wanted to make a life for herself in the city and to fall in love, just like women all across America. In the book “Fifth Avenue, 5 a.m.: Audrey Hepburn, Breakfast at Tiffany’s and the Modern Woman,” Sam Wasson writes: “Audrey’s Holly showed that glamour was available to anyone, no matter what their age, sex life, or social standing. Grace Kelly’s look was safe, Doris Day’s was undesireable, and Elizabeth Taylor’s — unless you had that body — unattainable, but in ‘Breakfast at Tiffany’s,’ Audrey’s was democratic.”

(via here)

~ My Week with Marilyn ~

7 Oct

~ Watch the trailer ~

With the “Best Hollywood Actress” prize to be waiting for her in a few days, acording to the rumors, Michelle Williams impresses with her performance as marilyn Monroe. The movie has to do with the time of the shooting of  “The Prince and the Showgirl” with co-star Laurence Olivier and will be released in theaters on November 4th.

Get a taste after the jump!

~ the scorpion jacket ~

2 Oct

The Scorpion Jacket from the film “Drive”, staring Ryan Gosling is now available for pre-order! More after the jump…

The jacket was created by Richard Lim of High Society. Below is Oliver Franklin’s article in “GQ Magazine:”

“I’m always facing the jacket question in films. There’s something about men and style and how the jacket is such a piece that they love, because it’s easy and they can wear it with everything. Ryan was really inspired by these Korean souvenir jackets from the Fifties. We got to this idea of a white quilted satin jacket with a scorpion on the back. The scorpion came a little later – that was inspired by this Kenneth Anger video “Scorpio”. We built the jacket from scratch. We used a tailor in Los Angeles: Richard Lim of High Society. He was really wonderful – he was able to work with the satin, and used real wool for the cuffs and the collar. We had maybe ten different styles tested: we had a baseball cut for the shoulders, then we had a regular sleeve cut. We tried so many styles to nail the one that fitted and looked the best. Then there was the whole issue of the colour. A white satin jacket set the alarm bells off for the director of photography. It’s a really hard thing to light, because it can blow out every scene. So we went through many iterations of the tone to get the actual colour we used, which is almost more like silver. At one point we just thought, ‘Let’s go back and make it olive green or red’ – but in the end we all fought for saving the white jacket because we loved so much.”

~ Drive ~

2 Oct

~ Vintage cars, a statement jacket, a toothpick and a little bit of 80’s ~

Wanted to see that movie so much, influenced by the good reviews I had read. Fortunately, it didn’t disappoint me at all. With a mixed feeling in the first minutes waiting to see what is that everyone praises. But as time passes you submerge in Gosling’s world that gets you away. Isolated and close nature, he gets a connection for the fist time in his life with a woman and her son. He and Carey Mulligan have an incredible chemistry and eye contact you seldom meet. When one kiss and only makes a movie so romantic then you have a lot to expect. It, also, gives you the chance to see Los Angeles not in its glamorous version but as a city that has become a nest for all sorts of criminals. I can hardly remember when was the last time I watched such an atmospheric and aesthetic film.

The soundtrack – one of the best in recent months – fills the dominant silence of the actors. Gosling is acting with the expressions – or the lack of them – of his face and for that he deserves respect. Why do you have to be an actress like Meryl Streep or Jodie Foster to express feelings without words…? Most reviews agree with the fact that “Drive” may be the best 2011 movie. I can see why…

~ watch the movie treiler ~

~ listen to the soundrack of the movie ~

“One thing that was unique for me about this project was having songs exert such a strong influence on the score. That helped to create a unified, one-size-fits-all, style of soundtrack…the 80s electronic pop style made a lot of sense to me. I knew that Nicolas [Refn, director] was in love with that sound and I saw a way to acknowledge it with vintage synth sounds and cover most of the dramatic food groups while referencing that style.” – Cliff Martinez (composer of much of the soundtrack and former drummer of the Red Hot Chili Peppers and the Dickies)

~ Melancholia ~

17 Sep

Την Πέμπτη 15 Σεπτεμβρίου είδα στην αγαπημένη κινηματογραφική αίθουσα του Ολύμπιον την τελευταία ταινία του Lars von Trier «Melancholia».

Ο πρόλογος ήταν αριστουργηματικός. Μέσα σε λίγα μόνο λεπτά παρουσίασε με σύντομες αλληγορικές εικόνες την ιστορία όλης της ταινίας από την αρχή μέχρι το τέλος. Το μόνο μείον κατά τη γνώμη μου ήταν η εκκωφαντική μουσική, όπου τα αυτιά σου πονούσαν από τα τόσα πολλά decibel. Έπρεπε να αφήσει την εικόνα να μιλήσει από μόνη της (που το έκανε έτσι κι αλλιώς) και όχι να σου προκαλέσει με το ζόρι ανατριχίλα από την ανυπόφορη ένταση του ήχου.

Το υπόλοιπο της ταινίας δε θα έλεγα ότι με συνεπήρε. Ίσως οι μεγάλες προσδοκίες που είχα γι’ αυτή, προερχόμενες κυρίως από την προηγούμενή του ταινία, «Αντίχριστος», στάθηκαν εμπόδιο στο να εκτιμήσω και αυτή του τη δουλειά. Η αλήθεια είναι, όμως, ότι ο Trier στον «Αντίχριστο» είχε καταφέρει να με βάλει ολοκληρωτικά μέσα στην ατμόσφαιρα της ταινίας. Δεν ξέρω που ακριβώς να αποδώσω το φταίξιμο, αλλά στη «Μελαγχολία» ήταν σαν να υπήρχε ένα τοίχος που σε κρατούσε έξω από την κατάσταση. Μου έδινε απλώς τις πληροφορίες ως γνώση χωρίς να με κάνει να εμπλακώ και να το νιώσω.

Επίσης, τα μηνύματα που περνούσε (μελαγχολία που προκαλεί απομόνωση, εσωστρέφεια, άρνηση και τέλος καταστροφή του εαυτού σου αλλά και των γύρω σου) ήταν αρκετά απλά στην αντίληψη και την ερμηνεία τους, χρησιμοποιώντας την αλληγορία ενός πλανήτη με το όνομα «Melancholia». Χωρίς να θεωρώ ότι αυτό είναι απαραιτήτως κακό, αλλά θα ήθελα να με πάει ένα βήμα πιο πέρα.

Ωστόσο, μου άρεσαν οι σκηνές όπου η Kristen Dust (η πρωταγωνίστρια) βιώνει τη μελαγχολία της και ο Trier την απεικονίζει με ωμές, καθημερινές εικόνες όπως το ότι δυσκολευόταν-αρνιόταν να κάνει ακόμα και την αγαπημένη της συνήθεια, ένα χαλαρωτικό μπάνιο. Μέσα από την απλότητα αυτή βγαίνει η αλήθεια του προβλήματος, που όπως και ο Trier είχε παλαιότερα δηλώσει, το έχει και ο ίδιος βιώσει.

Τέλος, η ερμηνεία της Charlotte Gainsbourg για άλλη μια φορά με εντυπωσίασε. Τι κι αν η Kristen Dust κέρδισε το βραβείο Α’ γυναικείου ρόλου στο φεστιβάλ των Καννών και για πολλούς θα πάρει και το Όσκαρ, για μένα η Gainsbourg υποκριτικά ήταν ανώτερη.

«Έχω μπερδευτεί κι αισθάνομαι ένοχος. Τι έχω κάνει; Ελπίζω μόνο να υπάρχει κάτι που μπορεί να προκαλέσει ρίγος μέσα σε όλο αυτό… Κλείνω τα μάτια μου κι ελπίζω!» είχε δηλώσει ο Lars von Trier, στις 13 Απριλίου του 2011 στην Κοπεγχάγη. Λυπάμαι που θα το πω αλλά το μόνο που μου προκάλεσε ρίγος ήταν τα υπερβολικά db  στην κατά τα άλλα αγαπημένη μουσική της «Ενάτης» του Μπετόβεν στην τελευταία σκηνή της ταινίας.

On Thursday, September 15th I saw in my favourite movie theater “Olympion” latest film Lars von Trier s ‘ latest film «Melancholia».
The prologue was a masterpiece. Within a few minutes it presented with brief allegorical images the history of the whole movie. The only minus in my opinion was the deafening music with your ears hurt so much by the decibel. He had to let the picture speak for itself (which it did anyway) and not make you shudder from the unbearable volume.
The rest of the film was not that captivating. Maybe my high expectations, mainly from his previous film, “Antichrist”, stood obstacle to appreciate his new job too. The truth is, however, that in “Antichrist”  Trier had managed to put me completely in the atmosphere of the film. I do not know exactly where to put the blame, but in “Melancholy” it was like there was a wall keeping you out of the situation. Just gave e the information as knowledge without making me get involved and feel it.
Also, the given messages (melancholy causes isolation, withdrawal, denial and finally destruction of yourself and those around you) were quite simple to percept and interprete, using the metaphor of a planet named «Melancholia». Without thinking this is necessarily bad, it does’ nt lead you a step farther.
However, I liked the scenes where Kristen Dust (the protagonist) is experiencing the blues and Trier illustrates it raw,with everyday images, where she refused to make even her favorite habit, a relaxing bath. Through the simplicity of this truth comes the problem, as Trier had previously stated, he has experienced that himself.
Finally, the acting of Charlotte Gainsbourg once again impressed me. What if Kristen Dust won the Actress in a Leading Role prize in Cannes and for many she will get the Oscar too,  for me Gainsbourg was hypocritically in higher level.
“I’m confused and I feel guilty. What have I done? I just hope there is something that can cause shivering after all this … I close my eyes and hope! ” Lars von Trier declared on April 13, 2011 in Copenhagen. Sorry to say, but all I was shivering from was the extremelly high dbs on the favorite music Beethoven’s  ‘Ninth’   last scene of the movie.