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fashiontv | FTV.com - LADIES AT ROME FILM FESTIVAL 2009

https://www.youtube.com/watch?v=eYn59tHT7Is

"A SPECIAL OF THE FESTIVAL OF CINEMA OF ROME 2009 DEDICATED TO TALENTED LADIES LIKE ASIA ARGENTO, BLANCA ROMERO, ANA ASENSIO .

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Actor S Guide

Star Power

STAR POWER! establishes a new wave of Acting. It speaks to current and relevant issues that creative Actors are grappling with: How do I “BE” authentic and respond from my truth and still BE the character? How do I respond spontaneously and still fulfill the Director's vision? How do I bring my rich inner imaginative world out to be visible in the material world? What is the the“IT” factor? It’s STAR POWER! STAR POWER! engages the Actor in new possibilities, helping them develop their Authentic Self and define their Individual Signature. As an acting coach, it is Ms. Shurin’s job to transform good actors into “brilliant” ones. This is a book about Ms Shurin’s new discoveries on how to create an Individual Signature for the actor. The combination of “Individual Signature”, becoming that...

Who Was Who on TV

The information herein was accumulated of fifty some odd years. The collection process started when TV first came out and continued until today. The books are in alphabetical order and cover shows from the 1940s to 2010. The author has added a brief explanation of each show and then listed all the characters, who played the roles and for the most part, the year or years the actor or actress played that role. Also included are most of the people who created the shows, the producers, directors, and the writers of the shows. These books are a great source of trivia information and for most of the older folk will bring back some very fond memories. I know a lot of times we think back and say, "Who was the guy that played such and such a role?" Enjoy!

Cannes Film Review: 'The Immigrant' - Variety

Meeting with a naturalization officer upon her arrival in New York, one year after the U. S. ratified women’s suffrage, Ewa (Cotillard) discovers that American immigration policy bars unescorted females from entering the country — a judgment... What Ewa doesn’t realize is that she’s being auditioned by “ immigration aid” worker and part-time pimp Bruno (an uneasy Joaquin Phoenix), who manages a burlesque theater not far from the seedy Five Points neighborhood where “ Gangs of New York ”... But Ewa and her sister Magda (Angela Sarafyan) didn’t escape war and cross the Atlantic to be turned away at the front stoop of their destination. Though the film ultimately concerns the heartbreaking compromises Ewa makes to adapt to this better life, Gray depicts these transgressions as magnanimously as possible: A scene vital to the film’s tragic tone takes place in the confessional of a... Despite its conservative budget, the film affords haunting views of the Ellis Island processing center, a hall of dreams where so many fates were decided. Though her character disappears for the duration of the film, she comes to represent everything that Ewa is working toward. As in Gray’s previous films, themes of relationships and family loom large over this latest project, which serves almost like an unofficial prequel to his other features, in which working-class characters continue the struggle for status in America. After agreeing to play Lady Liberty in one of Bruno’s girlie revues (a role with obvious irony for the illegal alien), Ewa discovers just how tenuous her situation is: One night, she tries to run away from Bruno’s clutches, only to be turned over... It is here, back at the start, that Ewa catches sight of Orlando (Jeremy Renner), a streetwise magician. As this immensely charming rapscallion, Renner brings a vitality to an uncharacteristically romantic role, offsetting Phoenix’s oddly wooden turn. Here making his fourth collaboration with Gray, Phoenix ill-advisedly accentuates Bruno’s awkwardness, resulting in a stilted, inadvertently amateurish performance. Naturally, neither Bruno’s intentions nor Orlando’s are as straightforward as they first seem to Ewa, although their connection is complicated by the fact they are family — cousins, to be precise (a convenient dramatic link that isn’t necessarily... Taking his cues from opera while drawing from his own family history as a descendant of Russian Jews, Gray wrote “The Immigrant” with late “Two Lovers” collaborator Richard Menello. Recognizing the deep, haunted quality of Cotillard’s gaze, he features her eyes as the soul of his story, counting on their mournful quality to play to the back of the house, even as he resists unnecessary closeups in favor of broad-canvas... Likewise, he seems unconcerned with the immediate payoff of camera placement (although he frames the meticulously researched sets like old photographs and supplies a whopper of a final shot), making choices that serve the performances and support... “The Immigrant” unfolds at its own pace, building slowly, perhaps even tediously for some, toward its emotionally cathartic conclusion. This classical approach harks back not only to the silent cinema of the period but also to the ’70s masters Gray holds dear, calling to mind the Lower East Side as seen in such films as “Once Upon a Time in America” and “The Godfather: Part II. ”... Cannes Film Review: 'The Immigrant'. Reviewed at Cannes Film Festival (competing), May 22, 2013. Running time: 117 MIN.

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  1. Cementing himself as the great classicist of his generation, James Gray turns back the clock to 1921 in “The Immigrant,” a romantic tale that cuts to the very soul of the American experience. This rich, beautifully rendered film boasts an arrestingly
  2. In American popular culture, and in the private lore of millions of American families, the immigrant experience of the late-19th and early 20th centuries is often presented as a chronicle of struggle and triumph, a parable of dreams come true. In “The

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The Immigrant | Netflix
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