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- 5,9 of 10
- Directed by: Giuseppe Capotondi
- stars: Donald Sutherland
- 202 vote
- Year: 2019
- &ref(https://m.media-amazon.com/images/M/MV5BZWFiN2I4ZTQtZDA2NC00YzE3LWFhMzgtZWY0MGIzNjdiZmY3XkEyXkFqcGdeQXVyOTgxNDIzMTY@._V1_SY1000_CR0,0,629,1000_AL_.jpg)
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The first film in ten years from Italian genre stylist Giuseppe Capotondi, who competed on the Lido in 2009 with his sharp, twisty neo-noir “The Double Hour, ” this adaptation of Charles B. Willeford’s 1971 novel ? about an art critic desperate to uncover a reclusive painter’s secret works at any cost ? is considerably more intriguing in setup than in anti-climactic follow-through, which rather squanders the film’s best asset: the smart, hot, mischievous chemistry between Bang and Debicki, two actors who could sell you just about any Old Master knockoff. If it’s never less than watchable, “ The Burnt Orange Heresy ” nonetheless works best as a kind of screen test for a star pairing in search of something friskier: Any enterprising casting directors with a script like “Duplicity, ” or an updated “To Catch a Thief, ” on their books should be first in line to see it. Distributors, meanwhile, will be drawn by the film’s name appeal and glamorous trappings ? as if the leads weren’t soothing enough to the eye, Capotondi throws in some verdant Lake Como scenery for good measure ? though it feels like once its festival run is complete, this year’s Venice closer will be seen mostly in ancillary platforms. Enterprising marketing folk, meanwhile, may draw some kind of wavy connective line between Capotondi’s film and Ruben Östlund’s Palme d’Or winner “The Square”: The films are hardly alike, but make similar use of Bang’s lightly ruffled elegance as a performer, both casting the Danish star as a debonair art-scene aesthete increasingly in over his head. (Hey, as typecasting niches go, it’s a classy one to have. ) With a Cary-Grant-on-vacation wardrobe and a silky, unplaceable English accent, his character James Figueras exudes an air of slightly chipped polish from the first frame, which sees him delivering a well-rehearsed, glibly clever lecture on the power of the critic to a gormless group of American vacationers in Italy. Using false historical context to talk his audience into admiring an unremarkable painting, he then pulls the rug out from under them: “I singlehandedly made you believe this was a masterpiece! ” he crows, to awed applause. Less impressed in the back row is wry, enigmatic drifter Berenice (Debicki), who playfully challenges Figueras over his lecture afterwards, and falls into bed with him not long after ? though whether she’s merely a beguiling chance acquaintance or a femme fatale with more of an agenda is the first of the film’s various enfolded question marks. In any case, the spark between them is sufficiently electric that we don’t question why Figueras immediately invites her as his companion on a trip to the swanky Lake Como estate of renowned art collector Joseph Cassidy (Mick Jagger, overplaying to jarring effect), who has a potentially career-enhancing proposal for the jaded critic: an interview with cult artist Jerome Debney (Donald Sutherland), who has been out of the public eye for half a century. The catch: he has to acquire one of Debney’s unexhibited, fiercely guarded new paintings. Needless to say, as Figueras’ opening lecture helpfully foreshadows for us, nothing that ensues is precisely as it seems ? least of all Debney himself, played with a worn, wily twinkle by Sutherland, who blithely disagrees with the critic’s assertion that he has “a duty to posterity. ” Relocating Willeford’s novel from Miami to Italy, the script by Scott B. Smith (“A Simple Plan”) blends simplified art theory with more general quippery, giving Bang and Debicki a surfeit of flirtatious banter to volley early on, before the tone takes a darker, nastier turn. Halfway through, however, the air goes out of the shaggy-dog plotting: a climactic pileup of unfortunate events is both rushed and unsurprising, leaving the actors with little room to dart and play. Capotondi’s direction, so ahead of his wild, joyriding narrative in “The Double Hour, ” feels a tad televisual here: Save for the chilly, brittle mood set by Craig Armstrong’s piano-based score, the filmmaking feels subservient to the script’s shifting demands. Indeed, at 98 minutes, “The Burnt Orange Heresy” is the rare film that could stand to be a little more indulgent, teasing out its bluffing narrative with more of a wink, further drinking in the louche allure of its milieu ? David Ungaro’s lensing is strong on shadow, but could use a dash of lurid oil-paint gloss ? and letting its two delicious stars enjoy each other’s company a bit longer before the fix is in. Nice as it is of Capotondi’s film to acknowledge the art of the critic so generously, there’s no making anyone believe this is a masterpiece: The pleasures it has to offer, though, merit a bigger, more gilded frame.
User Score Play Trailer Overview Hired to steal a rare painting from one of most enigmatic painters of all time, an ambitious art dealer becomes consumed by his own greed and insecurity as the operation spins out of control. Featured Crew Giuseppe Capotondi Director Charles Willeford Novel Scott B. Smith Screenplay You need to be logged in to continue. Click here to login or here to sign up. Global s focus the search bar p open profile menu esc close an open window? open keyboard shortcut window On media pages b go back (or to parent when applicable) e go to edit page On TV season pages → (right arrow) go to next season ← (left arrow) go to previous season On TV episode pages → (right arrow) go to next episode ← (left arrow) go to previous episode On all image pages a open add image window On all edit pages t open translation selector ctrl + s submit form On discussion pages n create new discussion w toggle watching status p toggle public/private c toggle close/open a open activity r reply to discussion l go to last reply ctrl + enter submit your message → (right arrow) next page ← (left arrow) previous page.
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Obraz po c5 bc c4 85dania watch free battery. 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.
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Obraz pożądania watch free episodes. Obraz pożądania watch free english. Obraz pożądania watch free online. Obraz po c5 bc c4 85dania watch free map. The Burnt Orange Heresy (2020) Watch The Burnt Orange Heresy Full Movie Online free in HD, Hired to steal a rare painting from one of most enigmatic painters of all time, an ambitious art dealer becomes consumed by his own greed and insecurity as the operation spins out of control. Genre: Thriller, Drama, Mystery Production Country: Italy Rating: 0 / 9. 418 Release: 2020-03-06 Quality: TS.
Obraz po c5 bc c4 85dania watch free association. Obraz pożądania Watch free. Obraz po c5 bc c4 85dania watch free engine. Obraz pożądania watch free watch. Claes Bang ('The Square') and Elizabeth Debicki ('Widows') headline the English-language debut from Italian director Giuseppe Capotondi ('The Double Hour'), which closed the Venice International Film Festival. A spiky romance laced with art-history references and the trappings of a sleekly elegant neo-noir, The Burnt Orange Heresy is a mutt of sorts but no less a pleasure to spend some time with ??even if petting it might not be advisable. This classy adaptation of Charles Willeford’s best noir novel, originally published in 1971, changes the location from the Everglades to the shores of Lake Como, in Italy, where a European art critic and his American weekend fling visit a rich collector and meet the hermit artist who lives on his estate. The feature starts off as a light-footed account of a deliciously prickly affair between two bright and funny people who have met their match before the story morphs into something much darker. A similar genre shift occurred in Italian film The Double Hour, so it is not a surprise that the director of that 2009 Venice best actress winner, Giuseppe Capotondi, was asked to make his English-language debut with this material. He does so quite confidently, even if the last act contains a few moments that strain credibility. The Burnt Orange Heresy, which closed this year's Venice fest,?seems like prime material for a streaming platform, especially with a cast that includes not only the handsome and suitably inscrutable Claes Bang, from Palme d’Or winner The Square, but also whip-smart Australian gazelle Elizabeth Debicki ( Widows) and, in extended cameos, Mick Jagger and Donald Sutherland. The dark-haired and cocky Bang plays James Figueras (Jacques Figueras in the novel), a formerly esteemed art critic who finds himself giving badly paid lectures to American tourists in Milan about art and authenticity. One of the people who sneaks into such a lecture is Berenice Hollis (Debicki), a peroxide-blonde teacher from Minnesota on a European tour. Figueras’ talk is a display of rhetorical fireworks with several unexpected twists that serve several purposes in the fleet screenplay from Scott B. Smith, an Oscar nominee for the adaptation of his own novel, A Simple Plan. Besides introducing several leitmotifs, the sequence showcases to what extent Figueras likes to use razzle-dazzle both to impress and to distract. It’s clear the man knows a lot about art criticism and art history but that all that knowledge has become the means to another end, namely to manipulate everyone around him for his own pleasure and benefit ? though here the stakes are low and the game is rather innocent. The display of intellectual prowess, packaged as a jaunty, offhanded divertissement but in reality rehearsed to the last letter as we’ve seen in the opening scene, intrigues Berenice. She’s fascinated by Figueras’ wit, intelligence and good looks, so it’s hard to blame her when she finds herself in his bed approximately five minutes after they have met. It is in James’ spartanly decorated, powder-blue apartment that audiences will realize that perhaps it is not Berenice who got lucky but James, as she turns out to be a smart and quick-witted delight even without any preparation. Their shared, post-coital banter rivals the sharp and hilarious exchange that Bang had with Elisabeth Moss in The Square, in which he also played an art connoisseur. Here and in the following scenes, in which James takes Berenice to the picturesque lakeside palazzo of eccentric art collector Joseph Cassidy (Jagger, doing a heightened version of Jagger), there’s a sense that Capotondi and the actors could have just as easily made a comedy-drama about the sex and romantic banter of two gorgeous people against an equally stunning backdrop. But that is not this film, or at least, not for its entire running time. The reason Cassidy has summoned Figueras is revealed in a conversation that makes it clear that the oddball Londoner has done his research on his guest, a fully fluent English speaker who is clearly Scandinavian ? those esses can’t fool anybody ? and who hopes to get a job out of his visit to Lake Como. But it turns out the critic has, if not quite complete skeletons, at least some bones in his closet. This is where Cassidy sees an opportunity to get what he wants without getting his hands dirty. All he needs to do is will the Tom Ripley Effect into existence, as he manipulates the proud Figueras into covering up his minor crime with a slightly bigger one. Thankfully ? for the viewer more than some of the players involved ? things then spiral further out of control. The tool used by Cassidy is the artist living on his estate, Jerome Debney (Sutherland), a hermit painter whose continued output has already vanished in flames several times. Debney wants one of his paintings from his locked atelier before another fire might occur. In order to get in touch with the mysterious man, Figueras is promised an interview with the recluse, which would be a possible way to get his career as an influential critic back on track. As if by magic, Debney makes an appearance not much later. And his Nestor-like bearing and way of speaking, milked to the last drop by Sutherland, charms both James and Berenice, even if Figueras is very aware that he needs to manipulate what little time he has to get what he’s been asked to deliver. Given the foreshadowing nature of the opening, the turn into darker territory feels like a change of pace that’s nonetheless logical. But there are some issues that are not satisfactorily resolved. The main problem is that Berenice (and also Debicki! ) is clearly at least as smart as James, so a few last-act twists are hard to stomach. The screenplay and the actors ooze charm as well as intelligence early on but the second half is more like a sleek thriller, something that's efficient but less jocular and surprising. One of the work’s main thematic concerns ? namely, how well do we really ever know others and how does the fact that we all lie complicate this matter ? also seems to evaporate as The Burnt Orange Heresy draws to a narratively satisfying but thematically somewhat underwhelming close. Finally, Capotondi also seems a little too enamored of an alleged art-historical metaphor for sin, which feels more like it’s been layered on top of the narrative than properly tied into it. Thankfully, his actors and the superb production values, including Craig Armstrong’s shimmering, piano-driven score, still make this an attractive overall package. Production companies: Achille Productions, Hanway Films, MJZ, Zephyr Films, Indiana Production, Wonderful Films, Rumble Films Cast: Claes Bang, Elizabeth Debicki, Donald Sutherland, Mick Jagger, Rosalind Halstead, Alessandro Fabrizi Director: Giuseppe Capotondi Screenplay: Scott B. Smith, based on the novel by Charles Willeford Producers: David Zander, William Horberg, David Lancaster Executive producers: Sienna Aquilini, Ayesha Walsh, Stephanie Wilcox, Dante Ariola, August Zander, Jon Shiffman, Jonathan Loughran, Alastair Burlingham, Charlie Dombek, Marco Cohen, Benedetto Habib, Fabrizio Donvito, Daniel Campos Pavoncelli, Alessandro Mascheroni, Peter Touche, Vaishali Mistry, Marie-Gabrielle Stewart, Peter Watson, Aris Boletsis Cinematography: David Ungaro Production design: Toto Santoro Costume design: Gabriela Pescucci Editing: Guido Notari Music: Craig Armstrong Venue: Venice International Film Festival (Out of Competition ??Closing Film) Sales: Hanway Films In English 98 minutes.
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Obraz po c5 bc c4 85dania watch free association. Obraz pożądania Watch free. Obraz po c5 bc c4 85dania watch free engine. Obraz pożądania watch free watch. Claes Bang ('The Square') and Elizabeth Debicki ('Widows') headline the English-language debut from Italian director Giuseppe Capotondi ('The Double Hour'), which closed the Venice International Film Festival. A spiky romance laced with art-history references and the trappings of a sleekly elegant neo-noir, The Burnt Orange Heresy is a mutt of sorts but no less a pleasure to spend some time with ??even if petting it might not be advisable. This classy adaptation of Charles Willeford’s best noir novel, originally published in 1971, changes the location from the Everglades to the shores of Lake Como, in Italy, where a European art critic and his American weekend fling visit a rich collector and meet the hermit artist who lives on his estate. The feature starts off as a light-footed account of a deliciously prickly affair between two bright and funny people who have met their match before the story morphs into something much darker. A similar genre shift occurred in Italian film The Double Hour, so it is not a surprise that the director of that 2009 Venice best actress winner, Giuseppe Capotondi, was asked to make his English-language debut with this material. He does so quite confidently, even if the last act contains a few moments that strain credibility. The Burnt Orange Heresy, which closed this year's Venice fest,?seems like prime material for a streaming platform, especially with a cast that includes not only the handsome and suitably inscrutable Claes Bang, from Palme d’Or winner The Square, but also whip-smart Australian gazelle Elizabeth Debicki ( Widows) and, in extended cameos, Mick Jagger and Donald Sutherland. The dark-haired and cocky Bang plays James Figueras (Jacques Figueras in the novel), a formerly esteemed art critic who finds himself giving badly paid lectures to American tourists in Milan about art and authenticity. One of the people who sneaks into such a lecture is Berenice Hollis (Debicki), a peroxide-blonde teacher from Minnesota on a European tour. Figueras’ talk is a display of rhetorical fireworks with several unexpected twists that serve several purposes in the fleet screenplay from Scott B. Smith, an Oscar nominee for the adaptation of his own novel, A Simple Plan. Besides introducing several leitmotifs, the sequence showcases to what extent Figueras likes to use razzle-dazzle both to impress and to distract. It’s clear the man knows a lot about art criticism and art history but that all that knowledge has become the means to another end, namely to manipulate everyone around him for his own pleasure and benefit ? though here the stakes are low and the game is rather innocent. The display of intellectual prowess, packaged as a jaunty, offhanded divertissement but in reality rehearsed to the last letter as we’ve seen in the opening scene, intrigues Berenice. She’s fascinated by Figueras’ wit, intelligence and good looks, so it’s hard to blame her when she finds herself in his bed approximately five minutes after they have met. It is in James’ spartanly decorated, powder-blue apartment that audiences will realize that perhaps it is not Berenice who got lucky but James, as she turns out to be a smart and quick-witted delight even without any preparation. Their shared, post-coital banter rivals the sharp and hilarious exchange that Bang had with Elisabeth Moss in The Square, in which he also played an art connoisseur. Here and in the following scenes, in which James takes Berenice to the picturesque lakeside palazzo of eccentric art collector Joseph Cassidy (Jagger, doing a heightened version of Jagger), there’s a sense that Capotondi and the actors could have just as easily made a comedy-drama about the sex and romantic banter of two gorgeous people against an equally stunning backdrop. But that is not this film, or at least, not for its entire running time. The reason Cassidy has summoned Figueras is revealed in a conversation that makes it clear that the oddball Londoner has done his research on his guest, a fully fluent English speaker who is clearly Scandinavian ? those esses can’t fool anybody ? and who hopes to get a job out of his visit to Lake Como. But it turns out the critic has, if not quite complete skeletons, at least some bones in his closet. This is where Cassidy sees an opportunity to get what he wants without getting his hands dirty. All he needs to do is will the Tom Ripley Effect into existence, as he manipulates the proud Figueras into covering up his minor crime with a slightly bigger one. Thankfully ? for the viewer more than some of the players involved ? things then spiral further out of control. The tool used by Cassidy is the artist living on his estate, Jerome Debney (Sutherland), a hermit painter whose continued output has already vanished in flames several times. Debney wants one of his paintings from his locked atelier before another fire might occur. In order to get in touch with the mysterious man, Figueras is promised an interview with the recluse, which would be a possible way to get his career as an influential critic back on track. As if by magic, Debney makes an appearance not much later. And his Nestor-like bearing and way of speaking, milked to the last drop by Sutherland, charms both James and Berenice, even if Figueras is very aware that he needs to manipulate what little time he has to get what he’s been asked to deliver. Given the foreshadowing nature of the opening, the turn into darker territory feels like a change of pace that’s nonetheless logical. But there are some issues that are not satisfactorily resolved. The main problem is that Berenice (and also Debicki! ) is clearly at least as smart as James, so a few last-act twists are hard to stomach. The screenplay and the actors ooze charm as well as intelligence early on but the second half is more like a sleek thriller, something that's efficient but less jocular and surprising. One of the work’s main thematic concerns ? namely, how well do we really ever know others and how does the fact that we all lie complicate this matter ? also seems to evaporate as The Burnt Orange Heresy draws to a narratively satisfying but thematically somewhat underwhelming close. Finally, Capotondi also seems a little too enamored of an alleged art-historical metaphor for sin, which feels more like it’s been layered on top of the narrative than properly tied into it. Thankfully, his actors and the superb production values, including Craig Armstrong’s shimmering, piano-driven score, still make this an attractive overall package. Production companies: Achille Productions, Hanway Films, MJZ, Zephyr Films, Indiana Production, Wonderful Films, Rumble Films Cast: Claes Bang, Elizabeth Debicki, Donald Sutherland, Mick Jagger, Rosalind Halstead, Alessandro Fabrizi Director: Giuseppe Capotondi Screenplay: Scott B. Smith, based on the novel by Charles Willeford Producers: David Zander, William Horberg, David Lancaster Executive producers: Sienna Aquilini, Ayesha Walsh, Stephanie Wilcox, Dante Ariola, August Zander, Jon Shiffman, Jonathan Loughran, Alastair Burlingham, Charlie Dombek, Marco Cohen, Benedetto Habib, Fabrizio Donvito, Daniel Campos Pavoncelli, Alessandro Mascheroni, Peter Touche, Vaishali Mistry, Marie-Gabrielle Stewart, Peter Watson, Aris Boletsis Cinematography: David Ungaro Production design: Toto Santoro Costume design: Gabriela Pescucci Editing: Guido Notari Music: Craig Armstrong Venue: Venice International Film Festival (Out of Competition ??Closing Film) Sales: Hanway Films In English 98 minutes.
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