Pietro Marcello
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Trailer Watch: Pietro Marcello’s Scarlet
Almost exactly a year after it made its world premiere as the Opening Film of the 2022 Cannes Directors’ Fortnight, the trailer arrives for Italian director Pietro Marcello’s Scarlet (L’Envol). Marcello’s French-language debut follows his previous effort Martin Eden, which made waves on the festival circuit in 2020 (despite the pandemic). Kino Lorber will release Scarlet in New York theaters next month. An official synopsis reads: Shortly after World War I, veteran Raphaël (Raphaël Thiéry) returns home from the frontlines to find himself a widower, and father to an infant daughter. Raised by her father in rural Normandy, the child […]
by Filmmaker Staff on May 8, 2023 -
Packing for Cannes, “d’Actes Malveillants,” and L’Envol: Sarah Winshall’s Cannes Producer Diary, #1
I’m on the train from Paris to Cannes to attend the Cannes Film Festival for the first time. I haven’t arrived yet but so far going to Cannes has meant a whirlwind of preparation: joining many WhatsApp threads from the various colleagues I know who are attending and mostly texting outfit photos and repeatedly reconfirming the red carpet dress code, hitting refresh a million times on the festival’s overwhelmed and unreliable online ticketing website (rumor has it, hackers are to blame!) desperate to book tickets to films before they sell out, switching my Google calendar between PDT and CEST as […]
by Sarah Winshall on May 19, 2022 -
Cannes 2022: Scarlet
At the Nice airport, a sign greets arrivals with “Welcome to the Côte d’Azur” in French, Russian and (smaller type) English, giving an idea of the area’s most regular visitors. But at this year’s Cannes, the yacht count is likely to be down, what with presumably diminished attendance from extremely wealthy Russians. The first person to point that out was a friend before leaving, the second a stranger on the bus from the airport to Cannes—one of a pair arriving to raise financing for four features in development and a fifth in post, which they said was “more of a […]
by Vadim Rizov on May 18, 2022 -
Martin Eden and the Perils of Viewing from Home
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Pietro Marcello on Martin Eden, Influencer Culture and the Relationship between Art History and Shot Composition
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Festival Beat: Doclisboa and CPH:DOX
Doclisboa by Pamela Cohn “I can’t trust my own memories, and neither should the audience.” — filmmaker Naeem Mohaiemen, The Young Man Was trilogy A robust and wide-ranging sidebar program at a festival draws on the conventions of the multivolume novel, or the cantos of a long poem, varied portraits refracting off a narrative throughline. Stories both epic and quotidian dovetail and, as a result, iconoclastic interventions and disruptions atomise historical temporality. What’s left behind when the so-called terrorist no longer identifies, or is identified, as such? Or is dead? Or never existed in the first place? Traces of a progression […]
by Filmmaker Staff on Jan 20, 2016 -
TIFF 2015, Critic’s Notebook #4: Unexpected Pleasures from Corneliu Porumboiu, Yermek Tursunov, and Pietro Marcello
There’s a sense of disappointment in the air. At the parties, people have been whispering, maybe this year’s just not a good year. Maybe next year will be better, they forecast in hushed tones. It’s true, many of the much-hyped films were somewhat of a letdown, but the best part of a film festival is when you walk out into a theater with zero expectations and you walk out enamored by what you just saw. There have still been moments like that for me at TIFF this year. A highlight of the fest for me has been Romanian director Corneliu […]
by Whitney Mallett on Sep 20, 2015
