Laura Morante

Laura Morante

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Romeo And Juliet - Featurette


The stars of the upcoming adaptation of 'Romeo and Juliet' Douglas Booth, Hailee Steinfeld, Ed Westwick, Damian Lewis and Paul Giamatti as well as costume designer Carlo Poggioli and Nadja Swarovski of Swarovski Entertainment Ltd. talk about the new movie in a short featurette.

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Romeo and Juliet Trailer


Romeo and Juliet are two young lovers whose lives together cannot escape their inevitable tragic fate. They are from opposite feuding families; Romeo is a Montague while Juliet is a Capulet. They meet and fall immediately in love when Romeo sneaks into the Capulet family ball and they soon vow to be married. Unfortunately, their happy matrimony does not last long when Romeo is forced to kill a relative of hers who challenges him and he is subsequently banished from Verona. Juliet, meanwhile, is being forced to marry another man against her wishes. Blinded by her misery, she accepts the help of Friar Laurence who offers to help her fake her own death so that she and Romeo may elope. However, after a cruel twist of fate, Romeo fails to receive word of the plan and discovers his wife apparently dead in her tomb. The grief that ensues becomes the deadly fate for this star-crossed couple. 

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2009 Cannes International Film Festival - Day 12 - 'Coco Chanel & Igor Stravinsky' - Premiere

Laura Morante Sunday 24th May 2009 2009 Cannes International Film Festival - Day 12 - 'Coco Chanel & Igor Stravinsky' - Premiere Cannes, France

Private Fears in Public Places Review


Excellent
Here's one no one could have seen coming. Alain Resnais, at the stately age of 84, comes back from a life of harrowing Holocaust documentaries and existential meditations to direct a winter-set play adaptation with a modest multi-narrative pull. Swept with snow-flurry transitions and sunken-in rom-com dynamics, Private Fears in Public Places, besides being the filmmaker's best work since 1977's Providence, brings theatrical adaptation to a new level of complexity and imagination.

It all starts with Thierry (the great André Dussollier), a realtor trying to find an apartment for Nicole (Laura Morante) and her contemptible husband Dan (Lambert Wilson). Thierry is harboring yearnings for his secretary Charlotte (Sabine Azéma), whose scattershot persona lends itself both to the religious and the carnal. Charlotte's night-job finds her taking care of the curmudgeonly father of bartender Lionel (Pierre Arditi) while he is serving drinks to Dan and Thierry's sister Gaelle (Isabelle Carre) at a classy hotel bar. All of this is connected by Charlotte's bible, a mysterious videotape of a woman go-go dancing and the search for a perfect apartment.

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Avenue Montaigne Review


Excellent
An absolute must for Francophiles and a great choice for anyone who loves a vibrant ensemble dramedy, Avenue Montaigne is a bustling delight, a slice of Parisian artistic life that will have you dialing Air France the morning after you see it.

Set in Paris's small theater district, the movie tracks the intersecting lives of a virtuoso pianist, a successful actress, and a rich old art collector, each of whom is facing a huge life change. The connections between them are facilitated by Jessica (Cécile De France), a young and innocent country girl who has arrived in the big city and taken a job at an atmospheric cafe patronized mainly by the artistic types who live and work nearby.

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Empire Of The Wolves Review


Terrible
Every once in awhile a movie comes along that is so nonsensical, so random, so stupid even, that it simply defies reviewing. 2005's edition is Empire of the Wolves, a film which appears to have gone straight to video despite starring Jean Reno.

The film opens interestingly, almost Matrix-like, as a woman (Arly Jover) is seen undergoing some kind of treatment for amnesia -- she can remember just about everyone except her husband. Increasingly suspicious and susceptible to flashbacks, she help from a psychiatrist who turns her on to the scars behind her ears and on her scalp. An x-ray reveals she's full of metal pins. Someone has done a major plastic surgery number on the gal. An hour into the 128-minute affair we get the film's primary revelation: Jover's Anna was once Turkish!

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Remember Me, My Love Review


OK
Italian Beauty? Even more so than in his previous film, The Last Kiss, Gabriele Muccino's story of despair and decay in an outwardly normal Roman household apes domestic forebears like American Beauty almost too closely. Still, to claim suburban ennui as a distinctly American experience would be hubris at its worst, so let's give Muccino his stab at the genre.

In this outing, all four family members are dropped right in the middle of their respective crises: Dad (Fabrizio Bentivoglio) is rekindling an affair with an old girlfriend (played by Monica Bellucci, who could possibly blame him?), while Mom (Laura Morante) is tentatively dipping a toe into the world of acting. Sis Valentina (Nicoletta Romanoff) is the proto-teen who hates everything and dresses like a whore -- and she's trying to become a dancer on TV... and what good could come of that? Then there's brooding Paolo (Silvio Muccino, Gabriele's kid brother and a regular in his films), who can't score with the girls and seems on the verge of suicide from frame one.

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The Son's Room Review


Good
For those who associate Italian cinema with Fellini and "high art," The Son's Room is an inventive, subtle alternative. Written by, directed, and starring Nanni Moretti, it takes us through the slow, complicated path of bereavement.

Slow is the best description for the film at first. It takes its time in establishing the habits of what appears to be a normal, happy family. Father and mother both work but still find the time to support their son and daughter through homework and after school activities. They laugh, spend free time together, and reprimand the kids for innocent wrongs with a sigh and soft pat on the shoulder. You get the feeling there is open communication and unconditional love amongst the foursome.

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The Dancer Upstairs Review


Excellent
Although recent events have led many people in this country to believe that terrorism is the sort of calamity that can be wiped out by invading select countries in the Middle East, the dramatic events portrayed in The Dancer Upstairs remind us that violence and terror exist on a daily basis in poor nations around the world. But rather than serve as a political statement or a docudrama on social uprisings in Latin America (where the movie is set), this directorial debut from acclaimed actor John Malkovich presents a calculated, thoughtful character study of a police inspector who is unsure of his duty to the world and to himself. The result is a film that does not force you into sorrow or bliss or any other cathartic extreme, yet manages to remain ultimately memorable.

To set the tone, Malkovich begins by taking us on a long truck ride through the mountains of South America. The countryside is beautiful and we are treated to long, wide-angle shots of the truck weaving its way along the base of snow-capped peaks. The passengers listen quietly to a broadcast of Nina Simone babbling to an audience as she prepares to sing her next song. Everyone seems calm, if not peaceful. And then, without a word, the driver guns the engine and slams the vehicle into a policeman standing at a hillside checkpoint. It's this sort of unexpected violence that returns again and again during the first half of the movie. Children blow up their fathers, cars careen into restaurants, politicians are executed on stage in theaters. And, as Inspector Rejas (Javier Bardem) soon learns, these are just the early signs of what could end up being a much bloodier revolution for the impoverished country.

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Laura Morante

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