drifters ( 2011 film )
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in this taboo drama, mete must fight against his inappropriate attraction to his 17 year old half sister, who has just moved in to his flat in drifters is an existential drama around an impossible love affair, , against the background of a rome that is chaotic, arrogant, immersed in its ruins and its social routines. drifters was featured in the 2011 london film festival .
the trials and tribulations of attractive young italians provide the photogenic subject for contempo comedy - drama
drifters .
cold war this and iron curtain that … kelli garner in pan am. photograph: bbc / 2011 sony pictures television
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gli sfiorati - 2011 plot: none story: none release date: 2 march 2012 user votes: 5. 0 countries: italy, stars: andrea bosca, miriam giovanelli, claudi ...
the movie’s director, li yang, dismissed as “ridiculous” the idea that suspects in isolated corners of the countryside had seen his film. because of its grim plot, the chinese authorities banned the film before it was released, and it has rarely been seen except by urban film enthusiasts. even mr. li had difficulty tracking down bootleg dvds of it, he said .
the undisputed master of three genres—film noir, psychological westerns, and big - budget historical epic—mann accumulated a majestic body of work .
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yes, i can confirm that the cast, and rome, is attractive. but that is about all that i can commend the film for .
film noir thrived in the dark of postwar america. but from the first flashing neon to the last crazy camera angle it was a director’s medium .
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gli sfiorati - 2011 plot: none story: none release date: 2 march 2012 user votes: 5. 0 countries: italy, stars: andrea bosca, miriam giovanelli, claudio santamaria, see full cast and crew, genres: , mpaa rating: image runtime: 111 minutes oscars: none
discovery is further complicated because the families of marginalized drifters are unlikely to file a missing - person report. even if they did, they would be unlikely to know when or where the men had last been seen alive — or when simply being out of touch had turned into their being missing or dead .
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drifters (gli sfiorati) was an unexpected pre - reality screening i managed to catch due to a fortuitous early finish at work. it wasn' t one of the films that made the final cut of my selections from the italian film festival guide (i think i dropped it after watching the trailer) but seeing as i got to the cinema early i thought i' d check it out - the cast looked suitably attractive and it promised some impressive photography of central rome .
misnamed movies. subtitled as well. the
drifters
are a handwriting theory of one of the characters, not even the main character. the true theme is about the sexual tension between mete and his new teenage half sister that the parents placed with mete while their marriage plans were getting prepared. gets a little tense at times .
the trials and tribulations of attractive young italians provide the photogenic subject for contempo comedy - drama “drifters. ” based on sandro veronesi’s rome - set novel, helmer matteo rovere’s sophomore effort benefits from its media - friendly depiction of a new social group, the titular gli sfiorati — just as long as no one remembers the book was actually published in [ … ]
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in 2011, nine men from leibo county in sichuan province were convicted of similar crimes, and the police said gangs from there had committed at least 20 murders in mines. in 2014, 21 defendants were convicted in handan, northern china, of killing four migrant workers in faked mine accidents. last year, 10 men were convicted in the ningxia region of killing five people in the same way .
if he were to remake the film today, mr. li said in a telephone interview, “it wouldn’t have anything different, except the amounts of money scammed would be larger and the perpetrators would be gangs. ”
this is a delightful film about the complications of love and sexual relations in a blended italian family. miriam giovanelli as the 17 year - old step - sister is innocently coquettish and so very adorable, whilst asia argento is a bewitching temptress .
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touch of evil is a kind of inspired mash - up of the themes and techniques of film noir. there were a few noirs after it, but welles' movie is really the end of the line. its decadence is damn near baudelairean; it blooms gorgeously, a mutant flower in the ruins of a once great cinematic form. and it gives the era a fitting send - off. film noir didn' t end up on easy street because nothing, and no one, does. but it went out in style .
mattsson' s presence is so forceful — there' s one truly remarkable confrontation where he turns on the menace full - blast and sprays saliva through his peg - like teeth — that it becomes simultaneously drifters' trump - card and downfall: his intense verisimilitude makes pretty much everything else on view suddenly seem artificial, contrived, ersatz. if all goes well, 50 - year - old mattsson can surely look forward to several years of steady, gainful employment in the busy world of scandinavian crime cinema and television. as for gronlund, drifters represents a fairly promising debut in its clear - eyed scrutiny of a milieu most folk are happy to ignore, one in which sweden' s much - praised social - work system is presented as playing a crucial — if not always totally effective — role. but there' s also a certain amount of pill - sugaring in the slickness of staffan ovgard' s cinematography and the doomy - moody stylizations of johan testad' s intermittently - deployed score, betraying a certain degree of directorial inexperience and suggesting a lack of confidence in the material' s considerable strengths .
a similar case inspired the 2003 film “ blind shaft, ” a chinese drama about two men who kill fellow miners for their compensation. in what seems to be an endless loop of life imitating art imitating life, some officials have said that the movie became an instruction manual for the recent killings .
“some viewers saw the film ‘blind shaft’ and found a way to get rich, ” the township government that oversees shisun village said in a notice posted outside the village committee office. “the culprits showed no compassion at all for life, and in particular kin and friends who were mentally impaired became assets used to make money. ”
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it' s not just the tough - talking characters, the guys with good hats and bad luck and the itchy dames who love them. those exist, in one form or another, almost everywhere. these hard cases often come to unfortunate ends in film noir, but what makes them so unmistakably american is that the violent outcomes always seem to come as a surprise to them. unlike their gloomy counterparts in the french crime melodramas of the' 30s, they' d expected a better outcome: they thought they were going to be on easy street. there' s a weird, little - noted streak of optimism in film noir, a berserk hopefulness that may be, to some extent, a reflection of hollywood filmmakers' sense that here, at last, was a form that allowed them to use every tool in their bag .
i lived in italy about 60 miles from roma for four years, having said that i have a better appreciation for the dialog. the entire film is full of romantic gestures. the explanation in the italian language of what a drifter is, is very poetic, and i wish you could understood the subtle lyric in it. not to sure you should watch this with your hot cool just met half sister or not, the rest of us adults are in for a great movie .
american movie theaters never went dark during the grim days of the second world war, but american movies did. some of them, anyway—those moody, fatalistic, dimly lit crime dramas we now call, collectively, film noir. the french gave us the term, and maybe a little of the doom - drenched romantic sensibility that made these pictures so distinctive. and many of the best noir directors were european by birth or upbringing. without filmmakers such as billy wilder, fritz lang, robert siodmak, jacques tourneur, max ophüls, rudolph maté, fred zinnemann, edgar g. ulmer, and otto preminger, noir as we know it would be a very different, and poorer, thing. although the movies benefited from the shared weltschmerz of the continental contingent, it' s just about impossible to imagine the two - bit tragedies of, say, wilder' s double indemnity or siodmak' s criss cross or tourneur' s out of the past in any place other than the land of the free and the home of the brave. the name notwithstanding, film noir is as american as a loaded pistol .
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meh. there' s a good bit going on in this movie, but very little of it is really all that interesting. we learn the protagonist lusts after his half - sister, who for some odd reason is living in his flat in the days (weeks? how much time is passing is a bit vague) leading up to their parent' s wedding. for some reason she doesn' t want to leave and so spends all day lounging around in her underpants doing who knows what. it' s important to note that the two don' t know each other that well, so this is not some story about brother and sister taking their natural familial bond to the next, taboo level. there' s some underlying statement about
drifters
, i. e. people who defy classification (at least, in the structure of their handwriting) that i suppose is supposed to tie the whole thing together but it didn' t quite work for me. at any rate, well acted and well directed, but just not all that memorable or interesting .
comment: brand new official italy blu - ray edition of this film. this is a blu - ray / region b, it will not play on regular dvd player, it will only play on blu - ray player. . audio: italian (dolby digital 5. 1), italian (dts - hd master audio), subtitles: english, italian, widescreen (2. 35: 1) special features: behind the scenes, cast / crew interview (s), commentary, deleted scenes, interactive menu, scene access, teaser (s), trailer (s) ,
television' s lone master of the documentary essay as a gag - and - rant - filled harrumph returns to cast his eyes over road movies. it' s a form that could never have originated in britain because our nation is too small and the roads too congested. in the us' s vast spaces, though, road movies make perfect sense. as ever, hall is funny and incisive, but prepare for disappointments too: without the blurry euphoria that comes with staying up late when you' re mildly stoned, film club staples such as two - lane blacktop look remarkably naff. jonathan wright
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. in a committed if slightly one - note performance, levanon (previously billed as
malin vulcano
) is seldom off - screen as 30 - ish blonde minna, who' s afflicted with adhd, a troubled family history and an addiction to amphetamines. perpetually cash - strapped and restlessly nervy, minna finds temporary escape from her fast - multiplying woes in a stockholm trailer - park after a chance encounter with katja (lauppi), who has problems of her own .
here, we look out for each other ,
she' s counseled by the run - down camp' s supervisor ,
here we' re loyal .
but minna' s opportunistic solipsism means she falls a long way from the ideal espoused by the film' s swedish - language moniker, which translates as' honor among thieves' — until events eventually compel her towards a climactic, redemptive act of altruism .
noir is, first and last, a director' s medium; it' s all style. compared to the studio gangster movies of the' 30s, noirs tend to be relatively light on action, so the director has to hold the audience' s attention by other means—to keep the atmosphere charged with menace while nothing much, really, is happening on the screen. in wilder' s double indemnity (1944), for instance, there' s just one action set piece, a sequence in which barbara stanwyck and fred macmurray construct their elaborate alibi for killing her husband. the murder in preminger' s laura (also 1944) takes place before the film has even begun. and in a few great, terrifying noirs, such as ophüls' caught (1949) and alexander mackendrick' s sweet smell of success (1957), the only violence is emotional cruelty. (in both cases, there' s plenty of it. )
with: with: andrea bosca, miriam giovanelli, claudio santamaria, michele riondino, asia argento, massimo popolizio, aitana sanchez - gijon .
handsome, 30 - ish mete (andrea bosca) has an apartment in rome’s picturesque historical center, a stimulating (if unlikely) job as a handwriting analyst and an enviable, appropriately hedonistic social life. less felicitously, his 17 - year - old half - sister, belinda (miriam giovanelli), to whom he’s inconveniently attracted, has just moved into his living room. as mete’s father, sergio (massimo popolizio), a soccer star - turned - sports pundit, belatedly prepares to marry belinda’s mother, virna (spanish - italian actress aitana sanchez - gijon), the two half - siblings negotiate their problematic intimacy boundaries .
written by rovere, laura paolucci and francesco piccolo, the screenplay successfully juggles several elements, notably a funny subplot involving nutty man - eater beatrice (asia argento, in a change - of - pace role that will earn her plenty more comedic castings). meanwhile, a committed perf from michele riondino as mete’s real - estate - agent buddy damiano can’t disguise the stock - comedy aspect of this generic lothario character .
tech credits are pro. andrea farri’s score, confidently fusing orchestral and electronic elements, reps a major plus, and the sound mix is afforded some showily effective moments in one nightclub scene. picture - postcard rome locations do no harm, with sergio and virna’s wedding in particular affording a pleasant whiz around the city in a vintage convertible, colosseum and all .
production: a fandango production in collaboration with rai cinema. (international sales: fandango portobello, london .) produced by domenico procacci. directed by matteo rovere. screenplay, laura paolucci, francesco piccolo, rovere, based on the novel by sandro veronesi .
with: with: andrea bosca, miriam giovanelli, claudio santamaria, michele riondino, asia argento, massimo popolizio, aitana sanchez - gijon .
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gli sfiorati - co ...
this video is no longer available due to a copyright claim by fapav - fed. per la tutela dei contenuti audiovisivi e multimediali .
a man develops an attraction to the daughter of his father' s fiancee .
# glisfiorati è un ircocervo col soggetto da commedia sexy e la confezione da serie tv locale. usa i toni sbagliati con costanza inquietante .
simplest of plots…our hero is a 30 year old guy with no attachments and a dull job, who receives the news that his father is getting remarried and that his half - sister is going to live with him (in his bachelor apartment in roma) during the upcoming weeks to the wedding, and this is the story of all the things the guy does to avoid being near the sister, an 18 year old nymph that he is deeply attracted to. not that clever and dragging itself in non - sense for much of the 105 min, it compensates with some beautiful scenery, some eros ramazotti and light porn…just dull…
se vabbè, ciao eh... commedia pruriginosa di rara inconsistenza e vacuità. però mezza stellina di bonus se la merita tutta perché c' è asia argento che fa asia argento .
not much happens in the life of young, privileged mete and his peers - until his half sister temporarily moves in with him. elegantly made but pretentious adaptation of a 1990 novel by sandro veronesi that hasn' t left much of a mark, lightweight drama fails to find any convincing root in the title' s flakily defined sociological category .
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it would have worked better if some affection (as opposed to sexual attraction) had ...
the relationship between the two protagonists is not entirely convincing. there is a clear attraction, but the step brother' s behavior moves between extreme avoidance to extreme surrender to emotions that are never completely convincing for the viewer. it would have worked better if some affection (as opposed to sexual attraction) had developed between the two .
i
skimmed
a lot of this movie. the pacing is slow, although there are some excellent scenes, such as mete talking to his stepmother - to - be about the pain of having an absent father. good acting and interesting characters, but i wanted to see more interaction between mete and belinda. besides being physically attracted, do they also like each other? unclear .
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the closed iron ore mine in shandong province, in eastern china, where the police say a man’s murder was disguised as an accident .
shisun village, china — the three miners befriended a lonely, luckless man and offered him work down an iron mine in eastern china .
after working together for 10 days, the three pushed a 220 - pound boulder down a steep tunnel, crushing the man to death. they reported it as an accident .
days later, three men and a woman turned up at the mine, saying they were the dead man’s relatives and demanding compensation. the mine owner offered them $ 110, 000 if they agreed not to report the death to officials .
prosecutors and the police now say that this death, in shandong province in 2014, was one of many in which a sophisticated network of grifters dispatched isolated, hard - up men, some mentally impaired, and dressed up their deaths as accidents to swindle compensation from mine owners .
the investigation led the police to shisun village in southwestern china, where mine murders for cash appear to have become a cottage industry. of the 74 suspects indicted in late may in 17 killings, up to 40 were from shisun village, prosecutors said. the police said they were still investigating reports of 35 more possible victims .
a search of court judgments online and news reports of court verdicts turns up dozens of instances across china of gangs killing vagrants and workers in dark, isolated chambers far underground, and using the deaths to defraud mine owners. there have been at least 34 such cases over the past two decades, caijing magazine, a prominent business weekly, estimated in june .
the allegations have prompted anguished debate across china about the social and legal failings that led people to make a living by murdering vulnerable strangers, and fanned speculation about whether the crimes were inspired by a bleak cult movie with a similar plot .
shisun is a hardscrabble, hollowed - out farming village of 5, 000 people nestled in the corn - and - bamboo - covered hills of yunnan province .
many villagers work in factories and on building sites in distant provinces, leaving farming and child care to aging parents and grandparents. those who stay behind often live in crumbling homes of mud and wood .
but on the main street, rows of three - story concrete houses suggest budding prosperity .
wang fuxiang owns one of those houses, as well as a restaurant in a nearby city. with his dapper suits and loud, casual wear, the kind seen more often on suburban golfers than on dirt farmers, mr. wang, 39, appeared to be among the lucky few who had escaped the hard life .
but it did not go unnoticed that mr. wang and several other villagers would abruptly disappear for days, weeks or months, and return flush with cash, which they often squandered on gambling binges, neighbors recalled. some thought the men might be selling drugs .
“he never told me what he did, ” said mr. wang’s daughter, hu yun, 17. nor, apparently, did she try to pin him down on the question .
about two years ago, she started to sense that something was amiss. “i began to get the feeling that there was something not right about the way he’d been making money, ” she said recently in an interview at her home .
a middle - aged farmer who lived nearby was blunter. asking that his name not be used for fear of recriminations, he wrote a letter in case he was ever asked about the cases, which said, “there are eight homes in this little village that have been built from human blood. ”
the mystery began to unravel two years ago, when the yunnan police received an anonymous message saying that the man killed in the shandong iron mine had been working under another man’s identity. (the victim’s real identity, if it has been determined, has not been announced .) another mine killing late that year in inner mongolia, a region of northern china, also left clues pointing to shisun village and nearby areas .
detectives descended on shisun and began questioning villagers. what they found were organized gangs devoted to serial killing for cash .
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some participants recruited and killed the victims, having won their cooperation by promising good wages, friendship, even marriage. others posed as the grieving family members who turned up at the mine to demand compensation, the police have said .
the gangs disguised the identities of their victims, using stolen or bought identity papers that they persuaded or tricked victims into using, ensuring that their real families would not learn of their fate. most victims were quickly cremated by their fake families, making identification even harder and erasing clues about their deaths .
the other side of the equation that kept the business humming is the mine owners, who paid handsome sums to the impostor families in order to keep the deaths quiet. if a fatal accident were reported, the owners feared, safety regulators would shut down the mine for months while they investigated, several mine owners told the police after the killings came to light .
if these killings sound like the plot of a thriller, that may be no coincidence .
still, many people have heard of the movie, and when the cases started coming to light, they were immediately described as “blind shaft killings. ”
similar cases first entered china’s national consciousness in the late 1990s, when a gang with dozens of members was convicted of killing 28 migrant workers in shanxi province. those killings inspired the movie, mr. li said .
since then, the blind shaft scheme has been firmly implanted in the national psyche of a country peppered with thousands of notoriously dangerous mines. most likely, the shisun gang heard of it by word of mouth .
according to available court records, the pace of such killings appears to have picked up in recent years, possibly because compensation payments have grown. as china’s regulators have clamped down on mine safety, driving down the number of accidents, the stricter regulation has perversely encouraged some mine operators to hide fatalities and pay off victims’ families, increasing the incentive to carry out the crimes .
the recent killings have veered from the movie version in at least one conspicuous way. in the movie, the killers extorted 30, 000 renminbi, or about $ 4, 475 at today’s rates, in hush money for one death. the shisun village gangs extracted payments of $ 75, 000 to $ 120, 000 from mine bosses, according to news reports .
the charges against the shisun suspects include homicide, faking accidents, swindling compensation, fraud and hiding crimes, though the police have not said publicly who is being charged with what .
long prison terms, and death sentences for the ringleaders, are likely, if similar cases are a guide. chinese courts almost invariably convict, and the suspects have not been allowed to publicly answer the charges .
mr. wang was arrested early last year. his daughter, ms. hu, now acknowledges that he may have innocent blood on his hands .
“i think he did do something, but i don’t blame him, ” she said. “he was doing it so that we could live a better life. ”
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flim noir lived, loved, and thrived in the dark—unlike many of its characters. but from the first flashing neon to the last crazy camera angle it was a director' s medium .
femme fatale: peggy cummins and john dall shoot it out in joseph h. lewis' gun crazy. (credit: warner bros. / photofest )
robert mitchum is awestruck by jane greer in jacques tourneur' s out of the past. (credit: photofest )
love stinks: robert siodmak, directing burt lancaster and yvonne de carlo in criss cross, used deep - focus compositions to show the world encroaching on his heroes. (credits: photofest )
crime wave: sheila ryan and john ireland in anthony mann' s railroaded. (credit: photofest) farley granger and cathy o' donnell are thieves on the run in nicholas ray' s they live by night. (credit: warner bros. / photfest )
double cross: billy wilder directs barbara stanwyck and fred macmurray in double indemnity, one of the early noirs that established the conventions of the form. (credits: photofest )
end of the line: orson welles used every trick in the noir book on touch of evil, with charlton heston and janet leigh. howard duff in jules dassin' s the naked city. (credits: photofest )
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in this taboo drama, mete must fight against his inappropriate attraction to his 17 year old half sister, who has just moved in to his flat in rome. (italian with english subtitles) .
handsome, 30 - ish mete has an apartment in rome’s picturesque historical center and a stimulating (if unlikely) job as a handwriting analyst. less felicitously, his 17 - year - old half - sister, belinda, to whom he’s inconveniently attracted, has just moved into his living room .
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will they, won' t they ?
relationship at the show' s centre has shifted up a gear since the revelation of brennan' s pregnancy. there is little time for baby talk here, though, as the team investigate the death of a young woman found in a paintball field. gwilym mumford
final episode in the comedy - drama that managed to live up to sky - scraping expectations. it' s the end of the first term and vod is kicked off her course, oregon tries to adjust to life as shales' s girlfriend and kingsley' s yearning for josie reaches its shrill crescendo. meanwhile, jp has his dad' s funeral to attend, giving jack whitehall a stab at genuine pathos. it' s only the end of term one and that means – one term per series – there could be a potential eight series with the same cast. great! jnr
a us edition of the family - tree - climbing franchise, this episode at least has the advantage of an unusually compelling subject. steve buscemi, who is generally as wry and funny as the characters he plays, goes in search of his great - great - grandfather, ralph montgomery, who lived in 1870s new jersey. there are, naturally, attempts to imbue the trawl with tension and melodrama – this time involving a civil war scandal and a suicide – but the idea at the heart of this programme remains compelling: that everyone' s very existence is unlikely happenstance. andrew mueller
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malin levanon stars in peter gronlund' s debut feature, a hard - hitting social drama from sweden .
terrain that' s overall as memorable as its oft - used english - language title. picking up a special mention when world - premiering in san sebastian' s lucrative new directors competition, it should prove a decent fit for festivals seeking socially - conscious fare. prospects at scandinavian box - offices don' t seem particularly promising, however and — one indelibly vivid supporting performance notwithstanding — it lacks the extra spark needed to justify arthouse distribution farther afield .
minna' s path to decency is complicated by her entanglements with the local underground crime - scene, especially when she incurs the wrath of the district' s much - feared mr. big, christer korsback. taking a leaf from the shakespeare playbook, gronlund peppers the first half of his screenplay with numerous mentions of korsback, ominously foreshadowing his delayed appearance in the picture' s second half. it proves well worth the wait, as korsback proves a truly chilling and scary presence thanks to the distinctively scarred, hollow - cheeked, intense - eyed physiognomy and sheer malevolent charisma of non - pro jan mattsson .
the north sea herring fisheries, filmed at lerwick, in the shetlands, lowestoft and great yarmouth and in the north sea .
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drifters ( italian : gli sfiorati ) is a 2011 italian drama film directed by matteo rovere . it is based on the 1990 novel gli sfiorati by sandro veronesi . 
drifters (italian: gli sfiorati) is a 2011 italian drama film directed by matteo rovere. it is based on the 1990 novel gli sfiorati by sandro veronesi.
drifters (italian: gli sfiorati) is a 2011 italian drama film directed by matteo rovere. it is based on the 1990 novel gli sfiorati by sandro veronesi.