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Cast=Timothée Chalamet

Liked it=187939 Vote

In 1980s Italy, romance blossoms between a seventeen-year-old student and the older man hired as his father"s research assistant

runtime=132 Min

Genre=Drama

2017

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Some of these reviewers think there is a bigger age gap than there actually is.
At the time of production in 2016 the actors were 21 and 29, and they obviously depict people younger than their actual years, and that is aside from the fact that the age of consent in Italy is 14.
From what I can see the people making these remarks seem to be stemming from homophobia, and trying to turn a love story into a predatory horror. They ought travel outside of their own borders once in a while, and realise that their hate stems from nothing but bigotry. No doubt if the age gap were smaller they would find something else to be disgusted with. Thank goodness we don"t live in America.
That aside, this is a wonderfully beautiful film that draws everyone watching back to their first love, the passion, euphoria and then the pain of the loss as the world just carries on. The production values and direction are excellent, and I would go so far to say that this was easily the most engaging and emotional love story I have ever seen depicted in film by a country mile as not a single viewer will watch it and not think back to their own first love, so the journey the characters go on becomes very personal for the viewer too.
Rarely does a film like this come along, perhaps only a handful in a generation, if that. Movie-goers who prefer chick flicks and marvel movies will probably be get bored early on, as the drama and engagement from this movie stems not from outlandish and unbelievable special effects, or shocking twists and turns, but from emotional depth and personal experience. Rarely can a film be so entirely predictable and yet completely mesmerising.
I simply can not recommend this film enough, and can tell you right now that it has set a mile marker for future movies, and will be discussed and dissected for decades to come.
My only slightly negative comment would be the choice and placement of some of the soundtrack, although that is a matter of taste.
10/10 without a doubt.
Enjoy.

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Italy
Giuseppe Capotondi
Action
The Burnt Orange Heresy is a movie starring Elizabeth Debicki, Donald Sutherland, and Claes Bang. Hired to steal a rare painting from one of the most enigmatic painters of all time, an ambitious art dealer becomes consumed by his
runtime - 1H, 39 Minutes
2019

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In turn, we ask You to leave honest comments after viewing A Cor da Ambição. Movie in theater or to enjoy the full movie at your home either way. James Figueras (Claes Bang) is an art critic so charmingly slick he can sell a tourist audience in Milan on a painting simply by making up stories about it. In attendance at his lecture is Berenice Hollis (Elizabeth Debicki), a vacationing teacher from Minnesota — or is she a seductive tower of blond ambition with a secret agenda? Given the laws of cinematic attraction, their coupling is as quick as it is inevitable. So it’s no surprise that filthy-rich art collector Joseph Cassidy ( Mick Jagger) extends an invitation for both of them them to stay at his villa in Lake Como. Most audiences would be content just to watch Bang, the Danish star of The Square, mix it up with Debicki, the Aussie-Polish scene-stealer from The Great Gatsby and Widows, in picturesque Italy — all under the mischievous gaze of a man dripping rock-star glamor. (Those lips! That twitch! ) Still, the makers of The Burnt Orange Heresy, directed by Giuseppe Capotondi from a script that Scott B. Smith adapted from the 1971 novel by crime writer Charles Willeford, have provided a plot that needlessly spoils most of the indecent fun. Switching locations from Florida to Italy is not the problem. It’s the growing heaviness of the narrative. That’s when Cassidy hatches a plan to have Figueras snatch a painting from Jerome Debney (Donald Sutherland at his buoyant best), a recluse who hasn’t practiced his art in years. A fire destroyed his previous lifetime output — but he may be creating new work at a studio that’s coincidentally tucked away on Cassidy’s estate. Debney takes quite a shine to Hollis, paving the way for light-fingered critic/con artist to get close and the script to swerve in directions that don’t exactly re-invent the film-noir playbook. Bang and Debicki go through the motions as the story that gets lost in the familiar corners of arson, forgery, betrayal and murder. Capotondi, tackling his first film in English after his promising 2009 debut with The Double Hour, gets by — for a little while, at least — on striking visuals from cinematographer David Ungaro, a propulsive piano score from Craig Armstrong, and indisputable star chemistry from Bang, Debicki and Jagger. But there’s no faking it in the final third when the film’s flimsy structure collapses in on itself. What a bummer that a movie that paints itself as a scintillating, sexually-charged, art-world thriller ends in a swamp of failed intentions.

 

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The Burnt Orange Heresy has easily been my favorite film of the Cinequest Film Festival so far. It’s hard to talk about this film without revealing any spoilers, so this might be better for a retrospective after you’ve finished it. Elizabeth Debicki lounges by pools, flirts with men, and plays the “Cool Girl” in the same vein as Amy Dunne in Gillian Flynn’s Gone Girl. Claes Bang plays an imperfect copy of a copy of Pierce Brosnan, slimy, charming enough, constantly impressed by his own cleverness. The two have a coyly fatalistic chemistry. Early in the movie, the morning after their first night together, Bernice (Debicki) slyly asks, “Do you ever start wondering how something that’s beginning will end? ” and the two muse over alternate doomsday scenarios, James (Bang) predicting his jealousy will get the better of him, Bernice foreseeing herself “whored out” at art gala receptions, before James gamely proposes a sort of art gala reception weekend together. Their predictions are both half true, which goes well with so many of the other multivalent moments in this movie: James’s questioning of Bernice’s real name, his suspicion of her accent, the way James tries to hold Bernice accountable for her betrayal in his dream, the provenance of the Debney painting at the end. Neither Bernice or James are anchored firmly in the facts, as displayed by James’s opening monologue, the speech he gives about being an art critic, and by Bernice’s insistence to Debney that she is a rock, not an egg. (“The saddest kind of egg is the one that thinks it’s a rock, ” says Debney. ) When the scene cuts to their roadtrip, we hear in the voice over, a message being left on voicemail for Bernice, informing her that her check for a thousand dollars hasn’t cleared. This is our first indication that Bernice may not be all she says she is. What is the overdraft check for? Is it for the abortion we hear about later when she’s removing her “mask” for the elusive Southern painter, Jerome Debney? Even Bernice’s work has created a fiction for her leave of absence: “Officially, I’m on leave to have a cyst removed, ” a neat little turn of phrase for a Catholic school teacher’s operation. In which case, Bernice reveals to Debney an incomplete truth. She tells him about the abortion and her sudden impulse to extend her trip through Europe, but not about the way she has dodged paying for her operation. Why does she withhold that information? Is her omission the reason why we get the shot of her footsteps unsettling swarms of flies as they leave the beach, or is that simply foreshadowing her return to the beach later in the film? On that point, who are the flies for? When Debney is questioned about the symbolism of the flies in an artist’s work, he scoffs, suggests the story of the portraits themselves is a myth, which is significant because it mirrors his own story and he’s the first to suggest it as a possibility. Man and his wife I was talking to afterwards said that the movie’s symbols felt crowded and unstable and didn’t really follow through, which makes me think more about the motif of the flies and the way that they interact with James and Bernice. Bernice and James never quite feel comfortable enough to be honest with the other, in part because Bernice doesn’t want to disrupt the fiction she’s created for herself, but also because James anticipates that his true motives will be anathema to her. Cassidy is in many ways the only person who uses truth, but only when it is to his advantage. He’s asks James if he was “used to validate a fortune” (Girl With a Red Scarf), but he also sells that fake to the TATE. When James asks him at the gallery how Debney dies, he says “heart attack or drowning, they fished him out of the pool and he was quite blue. ” The truth for Cassidy is that Debney is dead. It doesn’t matter so much the details of how he is said to have died. The metatheatricality of James and Bernice’s budding relationship is one of the most delightful parts of this movie for me. The way these two lovers dive into their “first row” by gesturing at the illusion of deeper knowledge of one another is humorous and tense: “Say something bad about my character and make it stick, ” he demands. “You treat serious things as if they were trivial and trivial things as if they were serious, ” she responds. And before James can yes-and the game with a showy flourish of his savagery, Bernice disarms him with a question which drips with foreshadowing, but at the time feels like an oddly deft yet sweet play on her part.