The Eight Mountains 2022

Table Of Content

• Emma Stone, Nathan Fielder and A24 to Produce ‘Checkmate,’ Ben Mezrich’s Chess Scandal Story
• Anne Buresh Interior Design
• Storyline
• ‘The Eight Mountains’ Review: A Stirring, Sprawling, Epic and Intimate Tale of Friends in High Places
• The 13 best novels (and 2 best short story collections) of 2023
• Peerspace appreciates Charlotte interior designers
• Designer Favorites

In Andrew Haigh’s metaphysical heartbreaker “All of Us Strangers,” a lonely screenwriter (Andrew Scott, giving the performance of the year) falls for a handsome neighbor and reunites with his long-dead parents. In “The Boy and the Heron,” likely the final animated marvel from the 82-year-old Hayao Miyazaki (though we can hope otherwise), a boy ventures into a fantastical realm and reckons with his mother’s recent death. In both movies, painful memories become wondrous hallucinations, a tower becomes a portal between worlds, and questions of reality versus fantasy, or old versus young, blur into insignificance. Miyazaki asks us how we live; Haigh, with no less urgency, asks us how we love. The Belgian writer-directors Felix van Groeningen and Charlotte Vandermeersch keep the characters — and the movie — immersed in beauty as the children grow up, drift apart and reunite as adults. Working with the cinematographer Ruben Impens, they give you a sense of tangible place as they plot the area’s profound geometry, roam across its shimmering glacial snow and catch the backlit mist wreathing the mountains.

Emma Stone, Nathan Fielder and A24 to Produce ‘Checkmate,’ Ben Mezrich’s Chess Scandal Story

Felix, do you see that approach to music as similar to your other films? I always think about your use of “Sunrise, Sunset” from Fiddler on the Roof in Beautiful Boy, which at first had me skeptical but eventually won me over with its sincerity. Since you mentioned the music, how did you settle on your approach to using it in the film? There’s a real earnestness to the way it accompanies the action you depict, especially in montage, where so many filmmakers can use it as ironic or removed commentary on the action. Felix Van Groeningen and Charlotte Vandermeersch enter a new stage of their partnership, both professional and personal, through their co-direction of The Eight Mountains.

Anne Buresh Interior Design

Bruno confronts Pietro with the aimlessness of his life and pushes him to help him build the house his father had wanted. Bruno plans to restore his uncle's pasture and continue living the life of a mountaineer, and encourages Pietro to follow his dream and write a book. An unusual pairing, to be sure, but one that for me makes a sad and sublime kind of sense.

Storyline

'The Eight Mountains' Review: A Lucid Epic About Friendship - slantmagazine

'The Eight Mountains' Review: A Lucid Epic About Friendship.

Posted: Sun, 23 Apr 2023 07:00:00 GMT [source]

Think where man’s glory most begins and endsAnd say my glory was I had such friends. His interviews, reviews, and other commentary on film also appear regularly in Slashfilm, Decider, and Little White Lies. Charlotte, have you been back in front of the cameras since working behind them? I’m curious if having served as a director has affected at all the way that you approach being an actress.

Le Otto Montagne, Felix Van Groeningen and Charlotte Vandermeersch at the heart of an unswerving friendship

The actors bring all the intelligence such heart-rending delicacy requires, too, as cinematographer Gábor Marosi foregrounds their faces in flatly lighted widescreen images evocative of a dimly lighted existence. With deep, melancholy eyes you can imagine inspiring a painter, Hajduk keeps Aldó’s sorrow ever-present, even in the hint of a smile; the way his worry for “Sunny” (Klára’s nickname) becomes a quiet engine in the film is a low-key master’s class. ” I’ve just logged in to Zoom to talk to Belgian directors Felix van Groeningen and Charlotte Vandermeersch, and they’re laughing already. ” says Vandermeersch I flap around, fiddling with my webcam, but nothing will correct the me-shaped smear on the screen.

As rescuers had broken into the house by making a hole in the roof, Pietro reasons that the house will therefore not last either because in some lives, there are mountains to which one cannot return, including the one at the center of it all. As he plays soccer with children at Asmi's school, he realizes that all that remains is to wander the eight mountains because on the highest mountain, he lost a friend. Returning to Grana, he informs Bruno of his plans to settle down in Nepal and probably will not be returning to Grana yearly; Bruno invites him to dinner.

The 13 best novels (and 2 best short story collections) of 2023

"The Eight Mountains" starts with the meeting of two 11-year-old boys in a remote village in the Italian Alps. Pietro (Lupo Barbiero) is a kid from Turin whose mother rented a summer house in the mountains. Bruno (Cristiano Sassella) lives with his aunt and uncle, working their farm.

In the months since, that disconnect has been playing in my head on a loop, and it’s come to feel like a metaphor for my own distance from the readers I write for — a distance I try my best to close with every review, every essay and, yes, every list like this one. One of the necessary privileges of being a critic is the opportunity to see new movies early, sometimes a week or two before they’re released (in the case of most studio pictures), and sometimes months in advance at film festivals. This year, my NYFF duties meant seeing more than a few major movies in unfinished form, which made them all the more intriguing to revisit later, with fresh eyes, when the time came to actually write about them. For both boys, their friendship proves a soul-sustaining connection, one that begins with them dubiously eyeing each other in Pietro’s dark, claustrophobic holiday home but that rapidly shifts once they dash outside. They walk, race and tumble through the area, exploring and sharing.

The story begins in the summer of 1984, when 11-year-old Pietro and his parents, who live in Turin, spend the summer in a small Alpine village. It’s here that Pietro meets Bruno, a boy roughly the same age, who swiftly becomes his friend and guide. The region, with its scenic lakes and jaw-dropping vistas, is a boundless sun-drenched playground. And the writer-directors Felix van Groeningen and Charlotte Vandermeersch joyously capture the boys’ rambunctious, rough-and-tumble innocence, the pure happiness we see coursing through their faces and bodies as they run, wrestle, yell and explore.

I saw it again the next day, less in the spirit of a rewatch than of an exorcism. I’ve had months since to process its horrors; for many of you, those months still lie ahead, and I hope it’s a challenge you’ll embrace. Our critics and reporters select their favorite TV shows, movies, albums, songs, books, theater, art shows and video games of the year. That being said, there’s no getting around what even the least judgmental observer would wonder about, especially at a time when Communism is fomenting a new, appearance-driven severity.

But, she also balances this out beautifully by adding new-age designs to her work. This is the perfect representation of the balance that the city of Charlotte has. Recently having some high-profile clients has been the highlight for Geri from Freespace Design and her portfolio.

Indeed, the physical resemblance of the younger actors to their adult opposites suggests the casting may have been the other way round at some point. If so, the change is inspired, given the wonderful subtlety Marinelli brings to the role of Pietro, so different from his eye-catching turn in “Martin Eden.” Here, he’s the soulful, uncertain, meandering yin to Borghi’s compact, practical yang. Their moments of connection are moving in their understatement, as when adult Bruno calls adult Pietro by his childhood nickname for the first time, across the roof slates of the hut they’re building in quixotic remembrance of the latter’s father.

At Cannes, critics praised the film’s attention to detail and the way it used elements of nature to conjure the feelings of magic that childhood friendships can create. It’s been a long time since Pietro has seen Bruno too; like so many childhood friendships, theirs faded as the two grew up and went their separate ways. The house is soon finished, and over time it becomes a place for them to reunite every summer, a high-altitude oasis amid lives often adrift in confusion and uncertainty.

Amy Vermillion shares with us a glimpse into her favorite room design, along with how this primary bathroom was inspired and came together with gorgeous customized details. For her, going with the classics means that the spaces she works on will not only be simply stunning, but they’ll remain timeless as well. In addition, she’s genuinely passionate about what she does, and Anne always ensures to tastefully reflect her client’s personalities and wishes in their space. One day, Lara calls Pietro and tells him that a snowstorm buried the house and Bruno is nowhere to be found, possibly dead. When the snow starts to thaw, birds are seen scavenging on something partially buried in the snow, presumably Bruno. (This is related to an earlier discussion of the Nepalese “sky burial” ritual, where the deceased are left on the mountains for animals to consume).

His mother Bea did “1,001 jobs”, including film industry work that helped set him on his course. With a chestnut ponytail and sharp-nosed, slightly gnomish face, the 45-year-old has more nervous energy than his wife, often scrubbing his head with his hands. Family tragedy brings them together again years later and inspires Pietro to begin fulfilling his late father’s (Filippo Timi) dream of building a mountainside cabin, a task for which he chooses to reunite with his old friend to help complete. The project brings them closer together than ever, yet forces both natural and societal exert their pull on the purity of their relationship. And Van Groeningen and Vandermeersch’s patient direction captures both the grandness and granularity of Pietro and Bruno’s story with sweeping scale and sincere emotion.

The following summer, Pietro returns to Grana with new friends including Lara, with whom he is briefly involved. Months later, Bruno calls Pietro to tell him that Lara is interested in working with him; Bruno and Lara soon become a couple and a daughter is born. No movies wielded a scalpel as fiercely or inventively as these two, though to wildly different ends. Lucien Castaing-Taylor and Véréna Paravel, veteran nonfiction avant-gardists (“Leviathan,” “Caniba”), took us on a truly fantastic voyage in “De Humani Corporis Fabrica,” their tour de force of eye-piercing, prostate-removing endoscopic horror. But fate reunites Bruno and Pietro as tough, bearded young men, played with subtlety and gentleness by Alessandro Borghi and Luca Marinelli. After a reticent, wary start Bruno suggests that, as neither have any work on, they spend an Alpine summer building a shack in the valley that will be their special place.