At Villa Borghese, the charm of summer cinema with Schermi d’Agosto – ConfineLive

Rome – In Rome, the screenings of the series “August Screens” continue until August 31 at the Teatro Ettore Scola, a large open-air arena immersed in the Villa Borghese park. Duty free import.

Fondazione Cinema per Roma presents the August program of Casa del Cinema: every day at the Ettore Scola Theatera large open-air arena immersed in the park of Villa Borghese, Yes will conduct a free entrance screening. From 6 to 31 August, starting from 21, the exhibition “Schermi d’August” will be held. a total of twenty-five titles: many lines and themes that the public will be able to follow in this long cycle that will complete the open-air Casa del Cinema program.

There will be classics of American cinema such as Steven Spielberg’s Jaws, the forerunner of all summer blockbusters, Billy Wilder’s When the Wife is on Vacation with Marilyn Monroe in her most iconic scene, Alfred Hitchcock’s To Catch a Thief, which makes a film between comedy and thriller in the midst of Côte d’Azur, as well as the main “Roman Holiday” by William Wyler and “Singing in the Rain” by Stanley Donen and Gene Kelly. Other overseas successes include Do the Right Thing, Spike Lee’s masterpiece set in hot and violent Brooklyn, and Bob Reiner’s Stand By Me, a four-boy adventure in the summer of 1959 based on a famous short story by Stephen King. .

Part of the program also includes several films set over the long European summer: Spanish with Vicky Cristina Barcelona’s love triangle, a Woody Allen film with Scarlett Johansson, Javier Bardem and Penélope Cruz; Greek, with Meryl Streep and the music of the main characters Abba from Mamma Mia! Phyllida Lloyd; finally, French, with “A Little Lie Between Friends” by Guillaume Canet, who shoots “The Great Cold” in a transalpine version and in a summer setting.

An important place in the August program will be devoted to our cinema, in particular those films that tell the stories, dreams, illusions and stereotypes of the Italian summer. In this way, it will be possible to relive a day in 1949 on the coast of Ostia with Luciano Emmer and Summer Sunday, the perfect meeting place for neo-realism and comedy, to rediscover the beach of Alberto Lattuada, a melodrama from 1953 included among the 100 Italian films to be saved. or return to Forte dei Marmi in the summer of 1964 with Sapore di Mare, Carlo Vanzina’s most famous film. We will go from twenty years and the conformity of the middle class, narrated by Alessandro D’Alatri in Americano rosso, to the first timid signs of an economic boom, brought to the screen by Aldo Fabrizi of the Passaguai family, to the drifts of well-being. featured in Dino Risi’s The Umbrella to finally reach the financial crisis Sole a catinelle, Gennaro Nunciante’s blockbuster with Cecco Zalone.

There will also be a look at the capital in its summer version, with crowded establishments on the Tiber, as described by Dino Risi in “Poveri ma belli”, and with a double portrait of an empty city created by Nanni Moretti in “Caro diario” and Gianni Di. Gregorio at mid-August lunch.

In addition, thanks to the “Schermi d’Agosto” series, it will be possible to go on a long journey through the most beautiful and evocative islands, places of great stories and magical places: in Procida, with Michael Radford’s Il postino, who sees Massimo Troisi in his last appearance on big screen; in Ventotene, where the class clash depicted by Paolo Virzi in “Ferie d’Agosto” is staged; in Kastelorizo, where Gabriele Salvatores is filming his Oscar-winning film Mediterraneo; on the southern Italian island of Odio le Estate, Massimo Veniera, where the misfortunes of Aldo, Giovanni and Giacomo meet and collide; and finally, on that deserted island where Giancarlo Giannini and Mariangela Melato were shipwrecked in Lina Wertmüller’s film An Extraordinary Destiny in the Blue August Sea.

The summer program of Casa del Cinema will end on Thursday, August 31 at 21:00 with a special event – the screening of the feature film “The Law”.a documentary in which, as filmmaker Flavia Masrella explains, “the cell phone has been transformed from a weapon of emotional destruction in presence into a remote creative tool.”


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