Berimbau Jack

  • Length: 1:13
  • Rating: 5.00 (1 ratings)
  • Views: 20
  • Author: alt3r3g0

Tags: amato  attenzione  berimbau  capoeira  catania  figo  jack  kitchen  milazzo  nino  play  remember  xxx 

How to waste your time in 30 easy steps

wild_bunch

  • Length: 5:4
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  • Views: 21
  • Author: musicnino

Tags: Movie 

Hey enjoy this messy video of our night right after 8 hours of work the fun at home begins

Triplets visiting the clinic at 3 months

  • Length: 2:1
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  • Views: 15
  • Author: musicnino

Tags: Movie 

They grow so fast I have to make many videos

Fellini - AMARCORD - I Remember - 8/14

  • Length: 4:53
  • Rating: 5.00 (3 ratings)
  • Views: 211
  • Author: 21458922

Tags: Amarcord  Federico.Fellini  I.Remember 

Subtitled. Aka: I Remember Director - Federico Fellini; Screenplay - Federico Fellini, Tonino Guerra; Producer - Franco Cristaldi; Director of Photography - Giuseppe Rotunno; Music - Nino Rota, Carlo Savina; Film Editor - Ruggero Mastroianni; Sound - Oscar De Arcangelis; Production Design - Danilo Donati; Set Decoration - Giorgio Giovanini; Costume Design - Danilo Donati; Filming Locations Rimini / Cinecittà, Rome (1973, Italia) Cast Pupella Maggio (Tittas Mother), Armando Brancia (Tittas Father), Magali Noël (Gradisca), Nando Orfei (Pataca), Ciccio Ingrassia (Uncle Teo), Luigi Rossi (Lawyer), Bruno Zanin (Titta), Gianfilippo Carcano (Don Baravelli), Josiane Tanzilli (Volpina), Maria Antonietta Beluzzi (Tobbaconist), Giuseppe Ianigro (Tittas Grandfather), Ferruccio Brembilla (Fascist Leader), Antonino Di Bruno, Mauro Misul (Philosophy Teacher), Ferdinando Vilella, Antonio Spaccatini, Aristide Caporale (Giudizio), Gennaro Ombra (Bisein), Domenenico Pertica (Blind Man), Marcello Di Falso (The Prince) Amarcord is the phonetic translation of the Italian words "Mi Ricordo" (I remember) as pronounced in the dialect of Emilia-Romagna, the birthplace of director Federico Fellini and the setting of this wonderful film. Little surprise, then, that it is a poignant and bawdy semi-autobiographical coming-of-age tale, with an ethereal, dreamlike quality that combines sharply drawn memories with vividly engaging fantasy. Like William Wordsworth, Fellini implies that the child is father to the man, and Amarcord is a both a lament for and an homage to his hometown. Employing a picaresque style, Fellini expertly weaves the tales of a wild menagerie of characters in pre-WW II Italy. No mere sentimentalist, he also tackles the prickly issue of the emergence of Fascism. The film takes careful aim at fanatics, while conserving its empathy for the lost, questing, confused, and lonely individuals in its midst. The family at the center of it all, loosely based on Fellini's own, is a well-drawn melange of coarse, pathetic, colorful, clever, and cranky characters. While Fellini does not choose nostalgic sepia tones, he does shoot much of the film in muted colors that seem slightly out-of-focus, as if he were attempting to transport us into a dreamlike state. Blending scenes of pathos and humor, vulgar carnal desire and transcendent magical illumination (the peacock's standing in the newly fallen snow, spreading its magnificent plumage is this film's signature image), Amarcord [...] remains a triumph of personal filmmaking.Twenty years after I Vitelloni, Fellini returned to Rimini. In Amarcord he calls on the free-spirited fantasies of his later films, as well as the bittersweet comedy and intimate sense of detail of his early films, to evoke a year in the life of this small Italian coastal town in the mid-1930s. Amarcord is filled with phantasmagorical gems from the director's imagination: a peacock flying through the snow alights on the piazza to signal the coming of spring; a child on his way to school encounters a herd of cows who are transformed by the early-morning fog into frightening monsters. But the film is also rooted in history, filtered through memory: focusing on one family of perfectly normal eccentrics, Fellini examines their impact on each other's lives and the impact of life on them through a series of interacting tales ("some romantic, some slapstick, some elegiacal, some bawdy, some mysterious" Vincent Canby). Fascism was a fact of life and, for Fellini, a focal point around which to examine the community, the Church, the state and the familyall of the elements that made Mussolini's acceptance possible. Like his protagonist Titta, a man in his fifties in 1972, Fellini looks to the past in this film for "the source of our illusions, our innocence and our feelings." But for Fellini, it is also a catharsis: "I made Amarcord to finish with youth and tenderness," he has commented.

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