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- synopsis - Storia di B. - La scomparsa di mia madre is a movie starring Carlotta Antonelli, Beniamino Barrese, and Benedetta Barzini. A once-iconic fashion model strives to escape the world of images and disappear for good, but her son's
- Genre - Documentary
- Liked it - 127 Vote
- Tomatometers - 7,6 / 10
- runtime - 1 h 34minute
Che merevigliaaaaaaaaaaaaaaaaaaaaaaaaaaa.
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انا نضن قتلها في بلاصة بعيدة علي دار علي هاذيك مخلي حتي دليل موحال في نهار يقتلها و يخليها.
Went to see this film tonight. so glad I did. It was amazing. 
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I love the dialogue. Never look away, everything true is beautiful. By freeing yourselves, you are liberating the world.
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Notebook fhd download via vpn apple Storia di B. La scomparsa di mia made easy. Per la cronaca e dopo aver letto i commenti. l'Eritrea, in Africa, fu la prima colonia del regno d'Italia conquistata nell'ottobre del 1935. Siamo quindi nel periodo fascista. in Eritrea, alcuni inviati o trovavano delle prostitute, dalle quali rischiavano di prendere malattie, oppure compravano una madama vergine (la cui garanzia era data dall'infibulazione) da tenere con sé, senza avere verso di essa nessuno degli obblighi che prevede un matrimonio. Infatti non era neanche lontanamente un matrimonio. Al momento dell'acquisto non vi era nulla di scritto, il venditore consegnava la donna e prendeva i soldi. L'uomo poteva poi abbandonarla, cederla o rivenderla quando o come voleva. alcuni trovavano quello che in Italia non avrebbero mai potuto avere: una bambina come madama. questi inviati italiani certo erano a conoscenza che la legge penale italiana (codice rocco del 1930) considerava stupro i rapporti sessuali con minori di anni 14. (Violenza carnale: Art. 519 del codice Rocco emanato sotto il governo Mussolini. secondo alcuni dire che il madamato fosse legale sarebbe come dire che oggi è legale il turismo sessuale dei pedofili in alcuni paesi del terzo mondo. Il giornalista in questione (laureato in giurispeudenza in Italia) ha dichiarato nelle interviste e nei suoi articoli che comprò la bambina di 12 anni nel 1935. il regio decreto n 880/1937 sul madamismo, sancì la punibilità penale del madamato. Non per la sua immoralità o per proteggere le vittime (le madame) ma per motivi di razza, qiundi per non mischiare le razze. Era una legge razziale. definizione Treccani di madamato: Pratica che consisteva nella relazione dindole coniugale del cittadino italiano con sudditi dellAfrica italiana. Era punibile come reato (madamismo) con la reclusione da 1 a 5 anni (r.d. 880/1937. il madamato di coniugale non aveva nulla: solo il rapporto sessuale, ma con modalità contrarie al consenso previsto nel matrimonio. Nel madamato il consenso al rapporto sessuale da parte della donna non era contemplato. la bambina in questione era infibulata (come lui stesso dichiarò in un sui famoso articolo di giornale. era infibulata e pertanto fu necessario il brutale intervento della madre. Lui invece era laureato in giurisprudenza e cresciuto nella migliore cultura italiana. se è un padre a vendere la figlia, ciò nn vuol dire che non sia violenza quello che poi lei subisce dall'acquirente. chi ha invitato lui in studio forse si aspettava di sentire la storia della bambina di 12 anni ed ha invitato anche la donna che gli dà dello stupratore, che non è una a caso, ma la Elvira Banotti, giornalista, laureata in giurisprudenza ed esperta di storia, ben nota per la sua lotta per i diritti umani, soprattutto dei bambini e delle donne. a chi dice cose tipo: però su tizio e caio che hanno fatto di peggio non leggo critiche. Rispondo: le riflessioni e critiche su Tizio eCaio saranno sotto i rispettivi video di Tizio e Caio. Sarebbe inconferente mettere qui le critiche relative a tutto lo scibile umano sulle ingiustizie del mondo. nota a uno dei fervidi difensori del protagonista. Parliamo di a e ha. Ha è voce del verbo avere, terza persona singolare, indicativo presente. Si usa ad esempio nella frase: egli non HA commesso reato. A si usa invece nel complemento di termine, che risponde alla domanda a chi, a che cosa. Ad es nella frase: A lui bisogna portare rispetto perché...
Benedetta wants to disappear. An iconic fashion model in the 1960s, she became a muse to Warhol, Dali, Penn and Avedon. As a radical feminist in the 1970s, she fought for the rights and emancipation of women. But at the age of 75, she becomes fed up with all the roles that life has imposed upon her and decides to leave everything and everybody behind, to disappear to a place as far as possible from the world she knows. Hiding behind the camera, her son Beniamino witnesses her journey. Having filmed her since he was a child in spite of all her resistance, he now wants to make a film about her, to keep her close for as long as possible – or, at least, as long as his camera keeps running. The making of the film turns into a battle between mother and son, a stubborn fight to capture the ultimate image of Benedetta – the image of her liberation Ever since my dad gave me a camera when I turned seven, making images has been a strategy to keep hold of the people I loved, saving them from the passing of time. I tried to photograph and film my mother too, but pointing a camera at her has never been easy. I have always felt a reverence, a sort of resistance in the action of photographing her. She just was too much to be contained in a single image—too beautiful, too smart, too funny, too intelligent, to aggressive, too incredible. For as hard as I tried, I just could not effectively capture her soul in a shot. She was a mystery to me. We always had a strong bond, but I had a feeling that there was so much more behind the part of her that I could see and access. For instance, she never told me that she was a model. I discovered that one day when I found locked in a wardrobe a few big photo portfolios with all her Vogue and Harper's Bazaar covers and editorials from the 1960s. I never told her I had found them, because if she didnt tell me there was probably a reason. The Benedetta I knew was so different from the girl who was staring at me from the magazine pages – and yet, she was so similar. I couldnt easily bring together all of the contrasting pieces of my mothers life, and I started to feel that it was my responsibility to recompose them into a coherent story. My mum also openly challenged me when it came to why I was taking photos and making films. Why was I so obsessed with it? Was the camera a way to hide, to avoid confronting my experience fully? Why would I need to rely on a camera to keep track of the things that mattered to me? Why didnt I keep a memory of them, letting go of what was not worth preserving? As I grew up, the role of images became progressively more dominant in our culture. And while I was starting to work as a photographer and cinematographer, I realised that the questions that my mum had posed in time were becoming more and more relevant. Making this film became a way to confront my visceral fear of losing forever what is bound to disappear. At the same time it was a way to collect and preserve my mothers legacy, bringing forward the intellectual ideas and emotional feelings that she had initiated by reflecting on her work as a model. Filming her again turned out to be a real challenge, as it implied exposing my reluctant mum while she was carefully explaining to me that “the lens is the enemy, ” and she just wanted to vanish, escaping the gaze and leaving behind the world as she knows it. The journey was hard, and it implied quite a lot of mutual harm –but I hope that she will realise that what I did was hopefully done with the kind of integrity that she has always tried to keep within herself. As for me, I know that I still havent managed to effectively capture her essence in a frame. Instead, I might have finally learned that this is just impossible. As my mum often repeats, “what truly matters, is always invisible. ” “ Engrossing. I just found Benedetta to be an extraordinarily interesting woman ” — Christopher Campbell, Nonfics “ An alternately tender and tempestuous doc… His obsession and her resistance intertwine, sometimes gently, sometimes explosively. This is a tumultuous muse story in which the artist and his inspiration just happen to be blood relations ” — Keith Uhlich, The Hollywood Reporter “ One of the most moving and complex film at Sundance. ” — AMY TUBIN, FILM COMMENT “ Beguiling. Many wonderfully contentious moments… A provocative rumination on how history is shaped by decisions and not always fact and that even the most well-intentioned interpretations can be fallible. Acknowledging that is the first step ‘The Disappearance of My Mother takes towards doing justice to a remarkable life in a film that evenif it reveals only a fraction of Benedettas true self is powerful to behold. ” — Stephen Saito, The Moveable Fest “ Its only January but so far, this is the best documentary Ive seen in 2019, and honestly in quite some time. The intricacies of a mother-son relationship are laid bare for all of us to see. The ending is perfect and bittersweet... ‘The Disappearance of My Mother is rife with grand philosophical questions about beauty, capitalism, love, life, and death, while still maintaining the intimacy of a family connection. (10 out of 10) ” — Lorry Kikta, Film Threat “ The Disappearance of My Mother was an uplifting journey of one man and his desire to capture his only favorite model – his mother Benedetta. The dialogues the mother and son have is all what we need to warm our hearts. They both adore each other but its the camera that enjoys what it captures the most… Theres a lot which can be taken away from this wonderfully shot and yet intimate portrait. (5 out of 5) ” — Ulkar Alakbarova, Let the Movie Move Us “ Director Beniamino Barrese had a captivating subject right in front of him in his mother, Benedetta Barzini… This would make for a fascinating jumping off point for any documentary, but the fact that her son took up the camera himself makes this into a Freudian field day of unspoken needs and desires. The interplay between mother and son adds a voyeuristic thrill to the struggle of one woman to reconcile her life. The contrast between her fame as a fashion model and her railings against the overwhelming male gaze of then industry is the main dichotomy of her life, something Barrese rightfully keys in on as utterly fascinating… A captivating watch for most of its runtime ” — Emily Wheeler, Film Inquiry “ One of several memorable documentaries in this years Sundance Film Festival. Deeply personal and shot through with fascinating contradictions, ‘The Disappearance of My Mother is a portrait of a woman in rebellion. Barzini is a severe, unsparing critic of the commodification and exploitation of the female body by men, which greatly complicates her sons insistent, at times intrusive gaze. It also deepens the movie, making the personal ferociously political. ” — Manohla Dargis, THE New York Times “ One solitary word cannot fully encapsulate how utterly personal the documentary comes across. Barrese guides the audience through his mothers mindscape, and as a thoughtful, remarkably insightful woman, the documentary reflects this sentiment through its visual language and fluid editing… ‘The Disappearance of My Mother is a noble effort, and as the subject of the film, Barzini herself is an intriguing personality; her perspective on the world is genuinely moving to hear at times, and her insights often work their way into your mind, inspiring you to openly consider your own life. Similarly, Barreses talents as a filmmaker cannot be disregarded. ” — Jonathan Christian, The Playlist “ The Disappearance of My Mother emerges as a tender and moving portrait… Its a refreshing departure from the kind of (mostly American) documentaries in which a prolific subject collaborates closely with a renowned documentarian to tell their story… Its as honest as it is persistent ” — John Fink, The Film Stage “ Included in Hollywood Reporter Critics Pick the 20 Best Films of Sundance 2019. Italian filmmaker Beniamino Barrese helms an alternately tender and tempestuous doc about his mother. His obsession and her resistance intertwine, sometimes gently, sometimes explosively. Its a slippery, ultimately very moving film. ” “ I think its really, really something… Its a heartbreaker. She is one of the great women of our time… ‘The Disappearance of My Mother is formally really interesting—you dont see that relationship between mother and son intimately acted out on camera. ” — Amy Taubin, Film Comment Podcast Indonesia + info 12th december 2019 BELGIUM Fesival Des Cinema Italien 7th december 2019 BRAZIL Festival do Rio - Rio de Janeiro Int'l Film Festival GET TICKETS 12th December 2019 BENIAMINO BARRESE - Director / Cinematographer Born in 1986, Beniamino Barrese graduated with a degree in Philosophy at Statale di Milano, International Political Economy at Kings College London and later received his MA in Cinematography at the National Film and Television School in Beaconsfield, UK. Since 2011 he has been working as a filmmaker, director of photography and photographer. His work as a DP includes fiction and documentary features, commercials, fashion films, music promos and short films, which have travelled around festivals worldwide. The Disappearance of My Mother is his first feature-length film as a director. FILIPPO MACELLONI - Producer Filippo Macelloni is an award-winning director, producer and writer. His work has played in numerous film festivals and on TV networks across the world. Among his most significant credits are the mockumentary Il Mundial dimenticato - The lost World Cup, co-produced and directed with Lorenzo Garzella, which premiered at the Venice FIlm Festival in 2012; the 2011 documentary Silvio Forever, co-directed with Roberto Faenza, a satirical biopic of former Italian PM Silvio Berlusconi; and the documentary Children Over Time (Rai Teche/Rai Cinema 2016) finalist for the Focal International Awards. With a background in architecture, Filippo is also an accomplished creator of video and art installations and exhibits for museums and institutions in Italy and abroad. VALENTINA CICOGNA - Editor Valentina Cicogna is an editor and screenwriter of feature films and documentaries produced and distributed by the main Italian broadcasters and selected in international documentary festivals such as Cinéma du Réel, Visions du Réel and IDFA. The latest documentary written and edited by Valentina, The Call, premiered at IDFA 2017 and won the Midlength Award at Hot Docs 2018. She teaches in the Masters program at OffiCine, IED's school of cinema, and at CISA, Locarno's school of cinema. CREDITS written & directed Beniamino Barrese editing Valentina Cicogna cinematography Beniamino Barrese, Brian Fawcett music composer Aaron Cupples, Miguel Miranda & Jose Miguel Tobar sound design Massimo Mariani graphic design Sammy Zarka produced by Filippo Macelloni executive producers Beniamino Barrese, Giovanni Storti, Lorenzo Garzzella, Hayley Pappas, Matt Ippolito, Bryn Mooser associate producers Paolo Borraccetti, Andrea Maria Lehner, Giulio Luciani a Nanof production in collaboration with Rai Cinema and Ryot Films with the support of MiBAC - Direzione Generale Cinema, Sensi Contemporanei Toscana per il Cinema NANOF is an independent production company based in Rome (Italy) founded by filmmakers Filippo Macelloni and Lorenzo Garzella. Its main focus is producing content focused on global interest topics, social and current affairs, culture and art issues, aimed to reach a wide audience. Since 2001, NANOF has produced documentaries, narrative films, video installations and television projects, developing an extensive network of collaborators internationally, working both in Italy and in co-production with foreign partners. RYOT Films is Verizon Media's Emmy Award-winning, Academy Award-nominated premium film studio. RYOT Films has produced a slate of critically acclaimed projects that have debuted at Sundance, Tribeca, SXSW, and Hot Docs, among others. RYOT Films documentaries have been distributed theatrically with partners from HBO and POV to Showtime, Netflix, Amazon, NatGeo, and ESPN. Highlights include back-to-back Academy Award nominations for Best Documentary Short Subject for BODY TEAM 12 and WATANI: MY HOMELAND. This year, RYOT Films latest projects - feature documentary ON HER SHOULDERS and short-form documentary LIFEBOAT are both currently shortlists for the 2019 Academy Awards. In 2018, as part of its commitment to funding groundbreaking storytelling, RYOT Films launched a multi-year multimillion dollar equity fund with Vice studios to produce premium documentaries. RYOT Films and their sister company RYOT are divisions of Verizons family of media properties, Verizon Media. For all other requests, please complete the form below.
Vomitevole. Che schifo. 
🔥🔥🔥🔥. I'm not from America and no little about american politics. Can someone explain what this movie is about to me please. Quando un grande uomo diventa piccolo piccolo questa è un usanza italiana.
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