Latest news with #Sapienza
Yahoo
28-05-2025
- Business
- Yahoo
Manchester state rep. announces run for Ward 5 alderman
A Republican state representative has announced her candidacy for Ward 5 alderman in Manchester. Kathleen Paquette launched her campaign for the Ward 5 seat Tuesday, one week after incumbent alderman Tony Sapienza announced he would not seek reelection this fall to the seat he has held for the past decade. Ward 5 school board member Jason Bonilla previously announced he is also running to succeed Sapienza. Paquette currently serves on the Criminal Justice and Public Safety Committee at the State House. 'In Concord, I've worked to address the real challenges that impact our neighborhoods, especially when it comes to crime and safety,' Paquette said in a statement. 'I believe local government should reflect the values of the people it serves. That means being smart with taxpayer dollars, creating safer streets, and supporting the families and small businesses that make our community strong.' Paquette also thanked Sapienza for his decade of service and wishes him the best in his retirement. In announcing her bid, Paquette describes herself as a longtime Manchester resident, community advocate, proud mother and grandmother, and a strong supporter of 'neighborhood-focused leadership.' 'I'm proud to call Ward 5 home, and I'm thankful for the support and trust so many of you have already given me,' Paquette said. 'Together, we can keep building a city where families feel safe, businesses can grow, and every neighborhood has a voice.' For more information, visit
Yahoo
22-05-2025
- Entertainment
- Yahoo
‘Fuori' Review: Valeria Golino Exudes Humanity In Mario Martone's Refreshing Biopic Of A Struggling Literary Pioneer
Literary biopics are hard to pull off, and even harder to market (1995's Total Eclipse missed a trick with 'Leonardo DiCaprio IS Arthur Rimbaud!'). Even well-known U.S. writers tend to be the domain of the indie world, resulting in films as respectable but hardly lucrative as Capote (2005), Kill Your Darlings (2013) and Shirley (2020). The odds are, then, that a movie dedicated to a brief period in the life of Goliarda Sapienza (1924-1996) — a noted Italian feminist and political activist denied her due until two years after her death — isn't likely to cause a splash in international markets. However, Mario Martone's thoughtful film does work quite well as a character study, in the same way that Marielle Heller's Can You Ever Forgive Me? captured the struggles of a failing writer with big ideas. Sapienza is played by Valeria Golino, who recently directed a six-part adaptation of the author's posthumous hit bestseller The Art of Joy, a novel Sapienza finished in 1976 and which remained unpublished until 1998. When we meet her, the year is 1980 and her manuscript has been rejected by every major publisher in town. Things are bad, so much so that she has been reduced to stealing, and the theft of some expensive jewelry from a wealthy socialite sees her spending some quality time in prison. Her motives for that, however, remain murky; although Sapienza is clearly in need of money, there is also a mischievous side to her beliefs that suggest an unapologetically radical-left dimension to the crime (the title card says that she was capable of cultivating 'love and furore' equally). More from Deadline Mario Martone's 'Fuori' With Valeria Golino Gets 7½-Minute Ovation At Cannes Premiere Cannes Film Festival 2025: Read All Of Deadline's Movie Reviews 'Romería' Review: Carla Simón Takes The Scenic Route For A Highly Personal Journey Of Self-Discovery - Cannes Film Festival Although her induction into prison is a humiliating, dehumanizing experience ('Are you wearing a wig?' asks a warden, tugging her hair and demanding she strip), Sapienza doesn't seem overly traumatized, holding her own within the hierarchies that exist behind bars and even getting her hands dirty in a fist fight. She becomes friends with one young girl in particular — Roberta (Matila De Angelis) — a seemingly hardened career criminal who becomes a big part of Sapienza's life, a tight friendship that, over time, will become more of a fractious, mother-daughter surrogacy. RELATED: CANNES HUB / Photos; Johnson, Hargitay, Stewart & More In Cannes Studio; 'Alpha' Review The title of the film translates into English as Out, and although the film shows Sapienza on both sides of the bars, the overriding theme of the film is freedom. Sapienza becomes fascinated by the women of Rome's Rebibbia prison, in particular the remarkable way that Roberta, in particular, seems to swim through life from one reality to another. The prison scenes are the most interesting, and Martone builds up a very textured analysis of the types of women doing time, and the types of crime that send them there. Drugs are a given, and Roberta has built up a pretty serious junk habit, but, this being Italy, the radical left is at its height, and many women have connections to the Brigate Rosse, one of the many outlaw European outfits of the time carrying out robberies, kidnappings and sabotage. RELATED: Dakota Johnson Talks Romantic Experiments In Cannes Comedy 'Splitsville', Upcoming 'Materialists' And 'Juicy' Colleen Hoover Adaptation 'Verity' Golino exudes humanity and patience, but there's an edge to her relationships that does border on the exploitative, which, inevitably, makes for tension with Roberta. But the overriding sense is not that Sapienza is fetishizing these women in the way the French bourgeoisie once went nuts for Jean Genet; it's more that she finds their stamina, their drive, their autonomy inspiring. The ending, then, is a little disappointing, since it involves a little twist that, if she really was paying so much close attention, Sapienza would have seen coming. Nevertheless, the film's central premise is refreshing; most literary biopics are about how a writer's most famous work came into being (Naked Lunch and Howl spring immediately to mind). Fuori, though, is about the opposite, concerning a woman who's already done that, now looking to make peace with her disappointments and learning to live freely in her own skin. Title: FuoriFestival: Cannes (Competition)Director: Mario MartoneScreenwriters: Ippolita Di Majo, Mario MartoneCast: Valeria Golino, Matilda De Angelis, Elodie, Corrado FortunaSales agent: GoodfellasRunning time: 1 hr 55 mins Best of Deadline Broadway's 2024-2025 Season: All Of Deadline's Reviews Sundance Film Festival U.S. Dramatic Grand Jury Prize Winners Through The Years Deadline Studio At Sundance Film Festival Photo Gallery: Dylan O'Brien, Ayo Edebiri, Jennifer Lopez, Lily Gladstone, Benedict Cumberbatch & More
Yahoo
22-05-2025
- Entertainment
- Yahoo
Mario Martone's ‘Fuori' With Valeria Golino Gets 7½-Minute Ovation At Cannes Premiere
Mario Martone's Cannes Film Festival Competition title Fuori had its world premiere Tuesday night at the Lumière Theater, earning a 7 1/2–minute ovation. From a script by Ippolita Di Majo and Martone, and starring Valeria Golino as writer Goliarda Sapienza, Fuori is inspired by Sapienza's 1983 autobiography L'Università di Rebibbia (The University of Rebibbia) and follows her journey as the Italian publishing world rejects L'arte della gioia (The Art of Joy), the book she dedicated a decade to writing. More from Deadline 'Fuori' Review: Valeria Golino Exudes Humanity In Mario Martone's Refreshing Biopic Of A Struggling Literary Pioneer – Cannes Film Festival Cannes Film Festival 2025: Read All Of Deadline's Movie Reviews 'Romería' Review: Carla Simón Takes The Scenic Route For A Highly Personal Journey Of Self-Discovery - Cannes Film Festival Reeling from this blow, Sapienza is promptly arrested and imprisoned for jewelry theft, but there is a silver lining: she forms solid bonds with her fellow inmates and continues to meet with them over the course of a long, hot summer. In particular, Sapienza becomes close with a political activist and repeat offender named Roberta (Matilda De Angelis). Ultimately, the relationship between the two women serves to inspire Sapienza to embrace life and joy once more, although those around her may not understand their continuing strong bond. The Art of Joy was written between 1967 and 1976, and published posthumously, and co-writer and director Martone's casting of Golino as Sapienza has specific relevance since Golino directed a six-part TV adaptation, which aired earlier this year. Elodie Di Patrizi, a singer and actor known as Elodie, stars alongside Golino and De Angelis, the latter known for the Sydney Sibilia-directed Rose Island (2020) and Niccolò Castelli's Atlas (2021). The cast also includes Corrado Fortuna. In 2018, Martone's film Capri-revolution was selected by the Venice Film Festival. Best of Deadline Everything We Know About The 'Hunger Games: Sunrise On The Reaping' Movie So Far Sean 'Diddy' Combs Sex-Trafficking Trial Updates: Cassie Ventura's Testimony, $10M Hotel Settlement, Drugs, Violence, & The Feds All The 'Mission: Impossible' Movies In Order - See Tom Cruise's 30-Year Journey As Ethan Hunt
Yahoo
22-05-2025
- Entertainment
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‘Fuori' Review: A Writer's Wild Life Gets Tame Treatment in a Serviceable Italian Biopic
It's not generally a good sign when explanatory title cards at the start and end of a movie give you vital information missing from the movie itself. But that's what happens with Fuori, a serviceable account of Italian writer Goliarda Sapienza's years as both a prisoner and ex-con, during which she forged relationships with inmates that inspired some of her best literature. Directed efficiently if too tamely by Mario Martone (Nostalgia), and starring Cannes regular Valeria Golino (Rain Man), the film should find an audience in places where Sapienza's books are popular, mainly Italy and France. The author became famous in her homeland after her novel, The Art of Joy, was published in 1998. It was a critical and commercial success that turned Sapienza, who had died two years earlier, into a major voice in Italian literature. She had led a fascinating life before that, growing up in Sicily with socialist-anarchist parents, fighting in her dad's brigade of partisans during World War II, acting on stage and in films (including a tiny role in Visconti's Senso) and trying to make ends meet during years of impoverishment as a struggling writer in Rome — until she wound up stealing a friend's jewelry and found herself locked up. More from The Hollywood Reporter 'The Disappearance of Josef Mengele' Review: An Artfully Directed, Intellectually Vacuous Holocaust-Ploitation Flick Feinberg on Cannes: Oscar Contenders Emerging From First Half Include 'Nouvelle Vague' and Jennifer Lawrence for 'Die, My Love' 'A Magnificent Life' Review: Sylvain Chomet's Beautifully Animated but Clumsily Scripted Love Letter to Marcel Pagnol For those unfamiliar with Sapienza's life or work, much of this is only made clear through the title cards. Otherwise, the script by Martone and Ippolita di Majo focuses solely on the time Sapienza spent in jail — which seems like months in the movie, but in reality was just five days — as well as the period afterwards during which she befriended an inmate, Roberta (Matilda de Angelis), who was young enough to be her daughter. Set in 1980, Fuori seesaws between prison scenes and life on the outside, where Sapienza, who was already in her mid-50s at the time, is back home in Rome trying to write. When she gets a call from Roberta, who's fresh out of jail and looking to reconnect, she begins to reminisce about their days together behind bars. The cross-cutting can feel a bit systematic, but it also adds something dynamic to a movie that's more of a chronicle celebrating the women's burgeoning friendship than a full-fledged drama. Which doesn't mean Roberta's life isn't filled with conflict: She's a total badass, stealing cars whenever she pleases and shooting up heroin every night. Sapienza seems captivated by the young woman, who can go from hot to cold in a heartbeat, acting all seductive in one scene and then treating the older woman with contempt. The two eventually link up with fellow ex-con Barbara (Italian pop star Elodie), who now runs a perfume shop. Together, they form a unique bond that's far more appealing to Sapienza than all the stuffy writers and intellectuals who populate her bourgeois world. The writer's attraction towards the criminal underclass is what makes her books, especially The University of Rebibbia (named after the place where she was incarcerated) and The Certainties of Doubt, so fascinating, but it doesn't necessarily make for great cinema. Martone favors an academic style that can feel rather stolid, even if the tech credits are polished in all departments. Scenes are handsomely lensed by cinematographer Paolo Carnera (Io Capitano) and the recreations of '80s-era Rome by production designer Carmine Guarino (The Hand of God) are expertly handled. The catchy score by Valerio Vigliar is another plus. But not a single sequence in Fuori manages to really stand out. Golino, who also wrote and directed a six-part TV adaptation of The Art of Joy (the pilot premiered in Cannes last year), convincingly embodies a woman who was a rebel in her own time. The actress literally bares herself in certain nude scenes, whether it's upon arriving in prison or during a cheesy shower sequence in which Sapienza, Roberta and Barbara bathe together at the back of the perfume shop, just like they used to do in jail. De Angelis gives an explosive performance as a girl incapable of settling down, oscillating between playing the daughter Sapienza never had and becoming a potential love interest. Fuori means 'outside' in Italian, and the film professes that life after prison is often a continuation of what went on behind bars, which is why so many ex-cons wind up going back in. Martone underscores these ideas in a story showing how Sapienza's experience at Rebibbia impacted her in the years that followed, even if her famous novel was written beforehand. It's a thought-provoking subject that probably plays better on paper than on screen, urging us to seek out the writer's books once the movie is over. Best of The Hollywood Reporter 'The Goonies' Cast, Then and Now "A Nutless Monkey Could Do Your Job": From Abusive to Angst-Ridden, 16 Memorable Studio Exec Portrayals in Film and TV The 10 Best Baseball Movies of All Time, Ranked
Yahoo
21-05-2025
- Entertainment
- Yahoo
Valeria Golino on Her Chemistry With Matilda De Angelis in Mario Martone's ‘Fuori': ‘We Were Really Lucky to Fall in Love'
For Italian actor and director Valeria Golino, it was a dream come true to play feminist writer Goliarda Sapienza in Mario Martone's Cannes competition title 'Fuori.' Golino was in Cannes last year as the director of the 'The Art of Joy' TV series, based on Sapienza's posthumous book of the same name. This year, in 'Fuori' – the title translates as 'Outside' in Italian – she plays Sapienza during the 1980s when, after 'The Art of Joy' is rejected by the Italian publishing world, she ends up in a Rome prison for stealing jewelry. Behind bars, she forges a deep bond with a repeat offender and political activist named Roberta, played by Matilda De Angelis ('The Undoing,' 'Citadel: Diana'). More from Variety Jodie Foster Says She Was Offered Lead Roles in French Films Before 'Vie Privée' but Was 'Too Scared': The Dialogue 'Was a Huge Challenge for Me' Karan Johar and Neeraj Ghaywan on Star Kids, Martin Scorsese and Their Cannes Selection 'Homebound': 'Living a Cinematic Dream' Bulova Documentary Puts a Spotlight on Brand's Backing of Veterans, Women's Rights and Other Social Initiatives Below, Golino speaks with Variety about her passion for Sapienza – whom she met when she was 18 and acted in a film directed by Sapienza's former husband Citto Maselli – and her chemistry with De Angelis, with whom she says she platonically 'fell in love' on set. You were in Cannes last year with 'Art of Joy,' the TV series that you directed based on Sapienza's highly erotic feminist novel. How was that experience? I've been immersed in Goliarda's thoughts for years, trying to absorb her. As a director I studied her, but above all I immersed myself in her book which I filtered, let's say, also through my personality. I had to continually pick out everything that interested me in the book and leave other things out while trying to keep her poetics intact. How has your relationship with this fascinating character evolved from the 'Art of Joy' TV series to 'Fuori'? One of the strings in my bow is the fact of having known her, even though at the time I was very young. Of course, as an adult I would have understood her complexity in a different way. Instead, I just have memories of her when I was a teenager. But these memories include vivid images of how she moved, how she put her hands on her hips. How she dressed. I'm talking to you as an actress, of course. About her exterior aspects. The way she wrinkled her nose when she laughed, her little eyes that darted left and right when she thought of something, her continuous amazement in thinking about things. What struck you at the time about Sapienza as a person? I remember her being a very hot-headed person, intellectually intolerant toward things she didn't like. But at the same time, paradoxically very docile because she was so curious about others, so curious about life. There was never judgment. She let things pass through her unless they offended her. So to me, Goliarda wasn't the aggressive person she had been known to be. At least that's what I remember. And I tried to convey this on screen. I wanted her to be welcoming towards everything that happened to her with an almost childish amazement. Goliarda's fervent curiosity seems to be what sparks her attraction toward her prison pal, played by an electric Matilda de Angelis. Sparks fly when you are both on screen. Talk to me about working with Matilda. Let's say that we were really lucky to fall in love. By saying this, I mean that this could also have not happened. There could have been these two characters, as they were written, who were very similar to what we tried to convey on screen but without the type of inspiration and chemistry between us that we created. Because both myself and Matilda, even though we are two heterosexual women, we are two actresses. And I don't know how to explain it to you, I fell in love with Matilda. This was my way of working with her. I really fell in love with her. Apart from the fact that, in my opinion, Matilda in the film really stands out on her own. She has a watchability that really…I don't know what to call it. I mean, only very few people have it. She is a thing of beauty. She has a strength, a potency, so it's clear that [even as a character] I saw her in that way. And Mario saw that as well of course, and like all very good actors she was shaped under the gaze of her director. This interview has been edited and condensed for clarity. Best of Variety New Movies Out Now in Theaters: What to See This Week Emmy Predictions: Talk/Scripted Variety Series - The Variety Categories Are Still a Mess; Netflix, Dropout, and 'Hot Ones' Stir Up Buzz Oscars Predictions 2026: 'Sinners' Becomes Early Contender Ahead of Cannes Film Festival
