miele ( film )
jasmine trinca and libero di rienzo. cast of the film' miele' pose at stock photo: 153664531 - alamy
jasmine trinca and libero di rienzo. cast of the film' miele' pose at a hotel in cannes, including actor ricacrdo scamarcio, actress / director valeria golino, actress jasmine trinca, actor vinicio marchioni and wife milena mancini .
italian actress valeria golino’s directorial debut “miele” and hirokazu kore - eda’s cannes competition contender “like father, like son” both received commendations from the ecumenical jury .
cannes — confirming its status as one of the major revelations of year’s cannes festival, abdellatif kechiche’s “blue is the warmest color” took the nod saturday from the fipresci intl. federation of film critics as the best film in cannes festival’s competition. the plaudit goes to a film whose “explosively graphic lesbian sex scenes, ” in [ … ]
driven by a no - nonsense ethos, the film avoids sentimentality the same way its main character avoids sentiment .
[ miele' s ] small achievement is in trying to understand the life - and - death choices of two people who aren' t as certain about what they' re doing as they initially appear .
figures observed through frosted glass as they engage in semi - audible conversation: that mysterious tableau, which begins valeria golino’s film “honey, ” defines the detached sensibility of the title character. “honey” (“miele” in italian) is the code name for irene, a fiercely free - spirited woman in the shadowy business of assisted suicide .
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cannes — confirming its status as one of the major revelations of year’s cannes festival, abdellatif kechiche’s “ blue is the warmest color ” took the nod saturday from the fipresci intl. federation of film critics as the best film in cannes festival’s competition .
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. it represents the percentage of professional critic reviews that are positive for a given film or television show .
fipresci plaudits go to one outstanding film in cannes competition, another in un certain regard and a third in either directors’ fortnight or critics’ week .
the biggest issue for me with this film was how it ended. i felt like the ending was a poor attempt at creating more mystery .
the film is set mostly in italy and partially in mexico. at one point medication from new york - based pharmacy chain duane reade appears on screen .
the film shies from directly addressing anguished existential questions. it is finally a story about the puncturing of one young, headstrong woman' s personal belief system .
a visually stunning, superbly acted film with an intelligent and timely screenplay about the right of the human being to make the ultimate decision: ending one' s life .
not sure if this is a remake or a rip off of a film based on true events (sorry i can' t name it) that i' ve seen before .
“it’s a humor - laced, action - packed film noir which sheds light on the gun craze and violence in contemporary america, ” directors’ fortnight artistic director eduoard waintrop told variety before the festival .
directed by valeria golino; written by ms. golino and francesca marciano, based on the novel “a nome tuo, ” by mauro covacich; director of photography, gergely poharnok; released by emerging pictures. at the elinor bunin munroe film center, 144 west 65th street, lincoln center. in italian, with english subtitles. running time: 1 hour 36 minutes. this film is not rated .
cinematographer chad owens has enjoyed stints as a film projectionist at college, print manager at the sundance film festival, documentary cameraman and entrepreneur. he loves to push the boundaries of what is possible in motion pictures, searching for the most unique experiences and people to capture. whether it’s music videoas, corporate storytelling or immersive documentaries, chad keeps authenticity at the heart of all the content that he creates .
with: jasmine trinca (irene / miele), carlo cecchi (carlo grimaldi), libero de rienzo (rocco), vinicio marchioni (stefano), iaia forte (clelia), roberto de francesco (filippo), barbara ronchi (sandra), massimiliano iacolucci (irene’s father), claudio guain (ennio), elena callegari (carla) and teresa acerbis (lorenzo’s mother) .
producer claire reynolds is currently the company director for clarence films. as a producer she is used to working across multiple platforms such as live action, animation and digital communications. she is also an award - winning short film producer .
the plaudit goes to a film whose “explosively graphic lesbian sex scenes, ” in the words of variety justin chang, do not overshadow for chang and the films’ other many admirers at cannes “blue’s” huge achievement as an emotional epic depicting over three hours a girl’s discovery of her sexuality and her multi - faceted love relationship with another woman over the space of years .
“honey” never evolves into a thudding, issue - oriented debate about the right and wrong of euthanasia. although carlo’s world - weariness touches on the kind of metaphysical malaise that has been a running theme in italian movies since the 1960s, the film shies from directly addressing anguished existential questions. it is finally a story about the puncturing of one young, headstrong woman’s personal belief system .
in honey, irene lives alone on the coastline outside rome. to her father and her married lover, she' s a student. in reality, she often travels to mexico where she can legally buy a powerful barbiturate. working under the name of miele (
honey
), her clandestine job is to help terminally - ill people to die with dignity by giving them the drug. one day she supplies a new
client
with a fatal dose, only to find out he' s perfectly healthy but tired of life. irene is determined not to be responsible for his suicide. from this point on, irene is determined to get the drug back. she and grimaldi become unwillingly locked in an intense and moving relationship which will change irene' s life forever. (c) emerging pictures
while the two principal actors do a solid job with their characters, the most impressive of all things in “honey” is gergely pohárnok’s cinematography. from the first shot of faces behind a golden glass door, to the lights of an airplane in the background dominating a shot of interior darkness, the lighting in this movie is exceptional. golden hues are used whenever possible to accentuate the beauty of life’s details, and even scenes that disrupt the rhythm of the film, like one which sees irene bathing in sunlight in an open field, can be given a pass because of how gorgeous they look. for all its minor faults of under - developed characters and disjointed scenes, “honey” is worth seeing not only for the compelling performances from the two leads but for the incredibly effective use of light, reminding us just how much other films take it for granted .
music is another thing which needs to be mentioned as a stand out. whether it’s the modern sounds of caribou, thom yorke from irene’s personal playlist or the bittersweet moments of classic music that her clients choose, music is a persuasive motif that golino uses to comment about the power of creativity. it’s still the silent moments where “honey” shines the most; a club scene that sees irene separated by invisible glass from a doting admirer or when we first see her prepare the dosage in a prolonged and intimate shot. golino might not have the greatest screenplay on her hands, but there’s more than enough to admire in a director who focuses on telling her first cinematic story through visuals and subtle performances. by avoiding the prickly questions of euthanasia, she infuses her film with a sense of artistic freedom, focusing on cinematic language rather than messages. [ b + ]
leads adele exarchopoulos and lea seydoux are also being talked up on the croisette as front - runners for cannes’ best actress prize, announced sunday .
fiprecci’s un certain regard nod went to iranian mohammad rasoulof ’s “manuscripts don’t burn. ” secretly shot in iran, the elle driver - sold “manuscript” turns on a former political prisoner who manages to write his memoirs about his time in jail despite being under constant state security surveillance. plot echoes director rasoulof’s own situation in iran, where he is currently on bail, awaiting a one - year prison sentence for shooting without a permit in 2010 .
beyond its subject matter, rasoulof told variety at cannes on saturday that he was very proud that critics had recognized the cinematographic merits of “manuscripts. ”
directors’ fortnight entry “ blue ruin, ” the second pic from brooklyn - based jeremy saulnier (“murder party”) and a revenge thriller about a homeless man’s family’s murder, also received fipresci recognition .
“blue ruin ” was acquired at cannes by radius / the weinstein co. in the first u. s. distribution buy anounced at cannes festival .
also announced saturday, cannes’ ecumenical jury awarded its main prix to “the past, ” from iran’s asghar farhardi who won an academy award for “ a separation. ”
anther of this year’s cannes competition favourites, and a companion piece to “ a separation, ” as variety senior critic justin chang observed to variety studio, “the past” is once more a family melodrama, though this time set in paris and starring berenice bejo (“the artist”), in which a woman seeks the end to a marriage. as farhardi’s carefully sprung revelations suggest, however, that is not so easy .
“the past, ” like “separation, ” is backed by france’s memento films whose alexandre mallet - guy pointed out that “a separation” also started out winning an ecumenical prize .
“i hope ‘the past’ now follows ‘a separation’s’ prize course, ” he said saturday in cannes .
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irene, nicknamed' honey', has devoted herself to people looking for help, and tries to alleviate their suffering, even when they make extreme decisions. one day she has to cope with... see full summary »
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irene, nicknamed' honey', has devoted herself to people looking for help, and tries to alleviate their suffering, even when they make extreme decisions. one day she has to cope with grimaldi and his invisible malaise .
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[ honey is ] never really laid bare as a character; her helpless, beseeching customers leave a much deeper impression .
trinca delivers a marvelously unfussy performance, rendering her complex character gradually, along with the effects of the opposing forces that tear at her .
the title character of
honey
is a fascinating and complex figure, and jasmine trinca inhabits the role with a detached intensity that' s thoroughly compelling .
golino shows impressive confidence behind the camera, tackling a complex story with patience and empathy .
... director valeria golino... creates a subdued character study of a young woman' s awakening to the brighter side of life .
an intense study of a woman whose faith in her job assisting suicide erodes .
“you have a really shitty job, ” a woman tells irene (jasmine trinca) as she sees her out of her apartment. irene, who works under the alias “honey” to try and sweeten the reality, at least on the surface, can’t say much in response because she knows it’s true. however you personally dice the sensitive issue of euthanasia, you can’t deny that assisting someone who has given up on life is a shitty job. terminal illness is one of the scariest things in this world, and people like irene understand that more than anyone because they have the kind of courage needed to actually do something about it. whether she’s a heathen or a healer, director valeria golino smartly avoids the precarious question altogether. instead she creates a subdued character study of a young woman’s awakening to the brighter side of life .
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jasmine trinca plays a fierce woman who makes the shadowy business of assisted suicide her personal mission .
portrayed by jasmine trinca, an athletic gamin with adorably crooked teeth, irene is connected to a loose network of contacts who direct her to terminally ill clients. they pay her handsomely in cash for what she views as ethically high - minded missions of mercy to end their suffering .
once a month, she flies from italy to mexico, via los angeles, to purchase over - the - counter barbiturates used by veterinarians. in her carefully rehearsed spiel to a pharmacist, she explains that she needs the medicine to put down her ailing 14 - year - old dog .
“honey, ” the impressive debut feature by ms. golino, sustains a contemplative mood with undersaturated cinematography that evokes the world as perceived through a light mist. after following irene on one of her forays to mexico, the movie tracks her as she brings her lethal potions to desperate patients, whom she treats with the cool respect and compassion of a visiting nurse .
after giving meticulous instructions for a lethal cocktail, she oversees her clients’ painless exits. at every point, she makes sure they have the opportunity to change their minds. a loved one at a patient’s bedside actually administers the potion. one emaciated, glassy - eyed man talks gibberish; the face of another is covered with lesions associated with aids .
irene’s home visits are pointedly contrasted with her vitality and independence outside of work. an avid swimmer, she lives alone in a sparsely appointed cottage by the sea, and images of her wriggling underwater reinforce the impression of a fearless, confident woman whose physicality shields her from doubts about the righteousness of her cause .
conducting her personal life with the same chilly efficiency that she brings to her profession, she shares physically intense, no - strings attachments with a couple of men. her closest tie is to stefano (vinicio marchioni), a married man she lies to about what she does and where she goes .
irene’s composure is shaken to the core when she meets carlo (carlo cecchi), a cynical architect in his 70s who is apparently in good health, despite a chain - smoking habit. after telling irene he has had a good life, carlo explains, in a blasé, almost teasing voice, why he wants to die .
“i’ve lost interest in everything, ” he declares. “it’s all so boring and insignificant. this thing you do for money: everybody should be able to do it. ”
disgusted and outraged by his words, irene demands that he return the medication. but carlo refuses. as they carry on a dialogue that turns into an almost playful battle of wills, carlo becomes the closest thing to a friend in irene’s life. but that edgy relationship seriously undermines her belief in her work .
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que no os engañe su duración: es corta, pero se hace larga, pesada y tediosa debido a que nada de lo que sucede tiene la menor trascendencia en lo que es la propia historia. me había llamado la atención su sinopsis. sé que es un telefilm de lifetime y, por lo tanto, hay que mentalizarse antes de verla en que el nivel que vamos a encontrar no va a ser muy alto, pero ni con esas... la he acabado porque quería averiguar el gran misterio que lleva arrastrándose a lo largo del metraje, pero hasta su resolución (si se le puede llamar así) ha sido decepcionante .
i found the actions of the characters to be so idiotic, the ending was not a shocker and i was on my phone for most of it as it wasn' t gripping at all. not awful by any means, it just wasn' t for me .
lifetime thriller about a boy who returns back to his family from being missing, only to cause trouble when he gets there. it' s a tale we see all the time with these types of films .
at least it tries to be different at the same time, the ending is a lot bleaker than the usual fare and there are questions that are left unanswered so we never really find stuff out .
i' ve seen this storyline played out a few times now in various different films. a child disappears and then many years later a teenager turns up claiming to be said child .
the acting in this, from all points, wasn' t really very good .
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miele is a 2013 italian drama film directed by valeria golino . it was screened in the un certain regard section at the 2013 cannes film festival where it won a commendation from the ecumenical jury . it was also nominated for the 2013 lux prize . 
miele is a 2013 italian drama film directed by valeria golino. it was screened in the un certain regard section at the 2013 cannes film festival where it won a commendation from the ecumenical jury. it was also nominated for the 2013 lux prize.
miele is a 2013 italian drama film directed by valeria golino. it was screened in the un certain regard section at the 2013 cannes film festival where it won a commendation from the ecumenical jury. it was also nominated for the 2013 lux prize.