Non ti muovere. eBook Title for Download:Non ti muovere (Format: pdf, Language: Italian). Plot: Author(s) Book:Margaret Mazzantini Publish Year: Non ti muovere. () I loved. it as a fun book, a comfortable book, the kind I sometimes enjoy at night. after the kids are in bed and homework has been graded. tHE MISSINg StAR (La stella che non c'è) by Gianni Amelio. My In , she worked on the script of NON tI MUOVERE (DON't MOVE), written and.
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non ti muovere film wikipedia. Non Ti Muovere Film Wikipedia. Page 1. Page 2. non ti muovere film wikipedia non ti muovere film pdf. Page 2. Download Non ti muovere. Non ti muovere Margaret Mazzantini ebook. Language: Italian Page: Format: pdf. ISBN: Non Ti Muovere/ Don't Move · print · PDF, English. NON TI MUOVERE (DON'T MOVE) Italy, , minutes, Colour. Penelope Cruz, Sergio.
Share this page. Margaret Mazzantini is an Italian writer and actress. She became a film, television and stage As a successful writer her novels include Non ti muovere Don't Move which was adapted into a film of the same name and is directed by her. Studienarbeit aus dem Jahr im. What's happening?
Work has now begun on a major. South Morang.
But as you go into the story, Timoteo's figure gains complexity and the humanity, or rather the small humanity, of this seemingly successful man becomes very tangible: his inability to really stand in life, to give and receive real love also with respect to his daughter. Finally, Mazzantini has a stylistic ability that regularly approaches the poetic register and can give painful depth to both dramatic and banal situations.
But as said before, the main flaw of this novel is the flatness of the other figures: the wife of Timoteo, his friends, but especially the mistress seem to figure only as dolls in what takes place in the psyche of the male protagonist. If they also had had a little more depth, then this novel could have scored higher.
I loved it!! Long haunted by the memory of a passionate love affair that ended in tragedy, Dr.
Timoteo Rossi, is forced to confront his past when Angela, his teenage daughter, goes into a coma after a near fatal accident. This crisis forces him to weigh the value of his daughter's life and his own. This spark leads us into his past affair with Italia, a tender but destitute woman who works as a house maid, and with whom Timoteo risks his m This is such a passionate and provocative Italian novel.
How does it feel to write a book that you then see come to life on the screen? I never thought I would base one of my films on one my books. My novels are usually about events that take place over a very long period of time and there is the risk that, on film, these stories can become historical melodramas.
In this case, however, various factors came into play: cinema was already in the book because the characters are actors; the story furthermore covers a short period of time, the nine months of a pregnancy. I thought that film could add something new to the book. The actors were also enormously successful in transforming the characters, rendering them autonomous in respect to the book. Nevertheless, despite all of the changes, the elements we took out and the purely cinematic choices we made, when I see the film again now, it seems to me that the atmosphere in the book is also present in the film.
And the water effects?
That was a problem we had to face with Paola [Comencini, the production designer], the crew and the production company: No one in Italy has any great experience shooting with water. Even Vajont was made using mostly digital effects. We, on the other hand, actually flooded the house.
Besides shooting in this house distorted by memories, we also constructed parts of the house on scaffolding with water underneath. There were different effects: one of them consisted of lowering a large platform into the water, with all of the furniture on it, which was supposed to remain secured and be completely buried by the water.
The first time that we lowered the platform, none of the furniture stayed in place, the force of the water was so strong that it knocked everything over.
We had to nail down the furniture, the books, the notebooks, everything that was part of the house, and we were ultimately able to get the effect we wanted. It was interesting to shoot such an intimate film using, however, the special effects of a catastrophe film.
The rest of the film I very much experienced on the set. Most of the scenes were already established during shooting, and none of them required many takes. On this film, there was a strong sense of camaraderie from the very beginning: the actors often spent a lot of time together, they went to dinner together and Stefania Rocca and Angela Finocchiaro even dressed alike.