Loro Film

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Der Film spielt im Italien Mitte der er-Jahre. Alles dreht sich um einen korrupten erfolgreichen Lebemann aus den höchsten Rängen der Politik, dessen Name nie ganz erwähnt wird. Doch schnell ist klar, dass es sich um Silvio Berlusconi handelt. Loro – Die Verführten (Originaltitel Loro, italienisch für „sie“ [Pl.]) ist eine Filmbiografie von Paolo Sorrentino. Im Film widmet sich der Regisseur dem ehemaligen. Darf man einem Populisten wie Silvio Berlusconi als philosophischen Clown zeigen? Paolo Sorrentino tut genau das. Sein Spielfilm „Loro“. FAZIT: Der Film brilliert in einer Art und Weise wie es Filme im Normalfall selten schaffen & zwar in einer perfekten visuellen Darstellung. Eine klasse Politiksatire​. Loro - Die Verführten ein Film von Paolo Sorrentino mit Toni Servillo, Elena Sofia Ricci. Inhaltsangabe: Italien im Jahr Das Land ist geprägt von der Gier.

Loro Film

Loro – Die Verführten (Originaltitel Loro, italienisch für „sie“ [Pl.]) ist eine Filmbiografie von Paolo Sorrentino. Im Film widmet sich der Regisseur dem ehemaligen. Loro - Die Verführten ein Film von Paolo Sorrentino mit Toni Servillo, Elena Sofia Ricci. Inhaltsangabe: Italien im Jahr Das Land ist geprägt von der Gier. LORO – Die Verführten. Ein Film von Paolo Sorrentino. Für Zuhause. Italien. Jeder korrumpiert jeden, und alles kreist um den ewig gutgelaunten Cavaliere.

The title Loro is Italian for "them", but also a word play on l'oro , meaning "the gold". An obstacle was that Sorrentino's usual Italian co-financier Medusa Film, which is controlled by Berlusconi, was not willing to participate in this production.

In Italy , the film came out in theatres in two acts: the first act, called Loro 1 , came out on 24 April , while the second act, Loro 2 , came out on 10 May On 7 August , a new minute cut of Loro was announced for release on 13 September This new international cut was made in order to allow the movie to run for the 91st Academy Awards.

In the United Kingdom , Loro was released on 19 April The website's critical consensus reads: " Loro uses the larger-than-life exploits of an infamous public figure to present a messily compelling snapshot of how power attracts -- and corrupts.

David di Donatello Awards Nastro d'Argento Awards From Wikipedia, the free encyclopedia. Retrieved January 4, Screen Daily.

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A film about the life of Silvio Berlusconi. Director: Paolo Sorrentino. Added to Watchlist. Everything New on Disney Plus in June. Toronto International Film Festival Masters.

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Edit Cast Cast overview, first billed only: Toni Servillo Silvio Berlusconi Elena Sofia Ricci Veronica Lario Riccardo Scamarcio Sergio Morra Kasia Smutniak Kira Euridice Axen Tamara Fabrizio Bentivoglio Santino Recchia Roberto De Francesco Ansichten Lesen Bearbeiten Quelltext bearbeiten Versionsgeschichte.

Hauptseite Themenportale Zufälliger Artikel. Deutscher Titel. Loro — Die Verführten. Italien , Frankreich.

FSK 12 [1]. Paolo Sorrentino.

Loro Film Nicht umsonst heißt sein Film nicht „Silvio“, sondern „Loro“, was sich mit „Sie“ oder „Ihre“ übersetzen lässt. Es geht also zumindest auch um die Menschen, die​. LORO – Die Verführten. Ein Film von Paolo Sorrentino. Für Zuhause. Italien. Jeder korrumpiert jeden, und alles kreist um den ewig gutgelaunten Cavaliere. Die Geschichte beginnt mit banalem Sex: Paolo Sorrentinos Film „Loro – Die Verführten“ inszeniert Silvio Berlusconis Machtbiographie als. Wie kam Silvio Berlusconi an die Macht? Wie konnte er sie halten? In "Loro" nähert sich Paolo Sorrentino dem Phänomen des. Dabei steht Silvio zu Beginn des Films nicht einmal im Vordergrund, sondern bleibt lange Zeit das unsichtbare Zentrum, um das sich alles dreht.

Loro Film Video

Silvio Berlusconi racconta come è diventato imprenditore - Raro - Sottotitolato

Loro Film - Sorrentinos Beherrschung des unerwarteten visuellen Schocks zeigt sich ab der ersten Minute.

Geld hat er keines, dafür eine Hure im Angebot. In der vielleicht schönsten Szene wobei es zahllose vielleicht schönste Szenen gibt stürzt ein schweres Müllfahrzeug, dessen Fahrer einer Ratte ausweichen wollte, von einer Brücke in Superzeitlupe aufs Trümmerfeld des Forum Romanum. Seine Frau Veronica hat seine billigen Tricks längst durchschaut und will nur noch ihre Würde zurück. Insgesamt drückt sich der Film aber leider darum, eine Haltung zu seinem Sujet einzunehmen. Sie haben Javascript für Ihren Browser deaktiviert. Previous Project Next Project. Bei dieser Version seiner Continue reading bleibt "Loro" jedoch nicht lange, schon bald gibt es auch auf Berlusconis Anwesen wieder ausschweifende Feiern und listige Machtintrigen. Elena Sofia Ricci. Source Geniestreich dieses Films besteht darin, sie auf tragische Weise ernst zu nehmen. Die Ruinen des alten Roms ragen in diesen Monumentalfilm des dritten Jahrtausends buchstäblich hinein — oder ist es andersherum? Regie führt der Oscarpreisträger Paolo Sorrentino. Read more Bruder ist ein Einzelkind. Im Rausch der Sterne. URL consultato il 28 marzo An introverted man's life changes completely when he finds himself attracted to a young bar-maid. Color: Color. Mike Bongiorno Ricky Memphis He has a morbid, Lovesick relationship with Ennio suggests Berlusconi to pass six senators to his side in order to bring down the centre-left government. It's a fine learn more here, but he walks it consistently. Mariano Apicella. Lele Marchitelli. Focus Acquires Deadman Wonderland sich die Vertriebsrechte für Italien.

Loro Film __localized_headline__

Sicherlich ist Paolo Continue reading nach wie vor ein Meister der eleganten Bilder, der schwebenden Kamerafahrten und des satirisch zugespitzten Stils, der immer wieder die Nähe zum Spätwerk von Federico Fellini aufblitzen lässt. Es ist ein Loro Film aufgetreten. Für die deutsche Kinofassung wurden die beiden Teilen auf etwas mehr als zweieinhalb Stunden eingedampft, worunter vor allem die Struktur und die Stringenz des Filmes leiden. Mehr lesen über Pfeil nach links. Diener der Dunkelheit Log Line. Sorrentino ist der erste Filmemacher, der das immense optische Potenzial dieses Lebens zwischen Macht und Sex, Better Off Ted Stream und Geschäft begriffen hat und continue reading. Saint Laurent. Loro Film Filme von Paolo Sorrentino. Kritik Handlung. Dogman Deine E-Mail-Adresse. Budget. Produktionsländer ItalienFrankreich. Loro — Die Verführten. Sicherlich ist Paolo Sorrentino nach wie vor ein Meister der eleganten Bilder, der schwebenden Kamerafahrten und des satirisch zugespitzten Stils, der immer Video App die Nähe zum Stream Picco Film von Federico Fellini aufblitzen lässt. Meine gespeicherten Beiträge ansehen. Auf deutschen Leinwänden flimmert die Minuten lange, aber kurzweilige Version eines zusammengeschnittenen Toni Servillo.

Veronica Lario, di ritorno nella villa, annuncia a Silvio che intende divorziare e tra i due comincia una furiosa litigata. Finalmente invita a cena Mike Bongiorno , ma conclude la cena disprezzando il lavoro di una vita di Mike.

Nel frattempo, a L'Aquila, i vigili del fuoco gestiscono il recupero di una enorme statua del Cristo estraendola da una chiesa distrutta dal terremoto.

I titoli di coda sono accompagnati da un lungo piano sequenza sui volti dei pompieri affaticati dalla lunga notte di lavoro.

Sullo sfondo, le macerie del terremoto, e in sovrimpressione il titolo: LORO. Il primo teaser trailer del film viene diffuso il 12 marzo [5].

Il trailer di Loro 1 viene diffuso il 29 marzo , [6] mentre il trailer di Loro 2 il 26 aprile In Italia nel primo giorno di programmazione, Loro 1 ha incassato Al 28 maggio, Loro 1 ha incassato 4.

I due film hanno incassato complessivamente 6,5 milioni di euro. Essere lenti quando devono essere veloci. Forse lo faranno, ingolositi, dalla seconda puntata.

Altri progetti. Da Wikipedia, l'enciclopedia libera. URL consultato il 12 marzo URL consultato il 12 aprile URL consultato il 23 aprile URL consultato il 27 aprile URL consultato il 29 marzo URL consultato il 7 giugno URL consultato il 7 agosto URL consultato il 21 maggio URL consultato il 3' maggio URL consultato il 30 maggio URL consultato il 9 maggio URL consultato il 15 maggio archiviato dall' url originale il 15 maggio URL consultato il 29 maggio URL consultato il 19 febbraio URL consultato il 28 marzo URL consultato il 3 settembre Altri progetti Wikiquote.

Portale Cinema. Portale Politica. Two young models that were left alone in the middle of a photo shoot strolls around the streets of Rome at night.

The debut feature by acclaimed Italian director Paolo Sorrentino La Grande Bellezza is a stylish and blackly comic look at the dark side of fame.

Evocatively set during the eighties, the During a tumultuous period in the career of Silvio Berlusconi, as his marriage to second wife Veronica Lario fractures, LORO speculates on what may or may not have taken place behind closed doors, depicting a wide variety of characters from multiple levels of society and their attempts to either ingratiate or distance themselves from him.

Paolo Sorrentino 's Loro is what can only be described as very, very Sorrentino; a pure distillation of his overriding thematic concerns and an anthology-like compendium of his stylistic tendencies.

This is Sorrentino at his most Sorrentino-like. Released in Italy in two parts, Loro 1 ran minutes and Loro 2 ran minutes, the film was released internationally as one piece, running minutes.

Very much a thematic companion piece to Il divo , and stylistically similar to the Oscar-winning masterpiece La grande bellezza , Loro is more interested in extravagant hedonism and Dionysian excess than the former and more satirical than the latter.

Visually stunning, with a towering central performance from Toni Servillo working with Sorrentino for the sixth time , some will criticise the film as all style, no substance; some will decry the lack of a strong forward-moving plot; some will take issue with the fact that Sorrentino seems reluctant to condemn Berlusconi; some will argue that in attempting to satirise the commodification of the female body, Sorrentino simply reproduces such commodification; some will find it too glossy and unrealistic; some will find it vulgar; some will find it sordid; some will regard the aping of Federico Fellini as too on the nose.

And there's validity in each position, to one degree or another. As I said, it's very, very Sorrentino. Written with his regular writing partner Umberto Contarello , Loro tells the "partly fictionalised" story of Silvio Berlusconi Servillo from the April general election which he lost by a tiny margin to the April L'Aquila earthquake and his return to power.

Initially, we follow Sergio Morra Riccardo Scamarcio , a pimp hoping to ingratiate himself with Berlusconi, to which end he rents the residence next door to Berlusconi's summer residence in Sardinia.

Hoping the sight of the escorts partying will attract Berlusconi, unbeknownst to Morra, however, Berlusconi's attention is elsewhere. Finding himself in a political position to which he is unaccustomed leader of the opposition , he is at something of a loss as to how to fill his day.

As will come as a shock to precisely no one, Loro looks absolutely amazing. There's Luca Bigazzi 's gorgeous and vibrant cinematography, rendering Sardinia as a lazy, sun-kissed nirvana; Stefania Cella 's luxurious and gaudy production design; Carlo Poggioli 's decadent and seductive wardrobe; and Maurizio Silvi 's makeup, hilariously recreating Berlusconi's waxen surgery-enhanced features and permatan, effectively turning Servillo into a human Ken doll.

Sorrentino employs such lush, over-the-top beauty because he is satirising soulless elegance; that which is aesthetically pleasing but metaphysically empty.

All-but drowning the audience in extraordinary, but ultimately meaningless opulence, however, he does run the risk of being accused of recreating and thus partially validating that which he has set out to satirise.

It's a fine line, but he walks it consistently. Take, for example, how he employs female nudity, of which there is a huge amount, almost all void of much in the way of narrative justification.

On the surface, it's gratuitous nudity-for-nudity's sake. However, the lack of a meaningful rationale is precisely the point; to show that the characters dispassionately view women as commodities.

Every male, and even some of the females for example, Morra's business partner Tamara Euridice Axen , and Kira Kasia Smutniak , an acquaintance of Berlusconi's with whom Morra becomes infatuated look at the escorts as objects whose bodies are for nothing beyond satisfying the lust of lascivious men and generating profit for their pimps, and the sight of so many beautiful young women degrading themselves for lecherous old men leaves a nasty aftertaste, precisely as is intended.

One of the most interesting facets of the film is how relatively lenient Sorrentino is - Berlusconi is not exactly sympathetic, but neither is he what you would call a villain.

In this sense, the film reminded me of Oliver Stone 's W. Part of the reason Berlusconi comes across as not completely reprehensible is because of Servillo, who is too intelligent a performer to allow any role to lapse into caricature.

His Berlusconi remains always a bully, but he's also a man horrified by growing old, and his refusal to go gently into that good night is mixed with the occasional bout of regret.

Servillo especially lets us see just how much it genuinely hurts Berlusconi when his marriage breaks down, as he is still desperately in love with Veronica, despite the fact that his behaviour has led her to despise him.

On a more superficial level, Servillo perfectly captures Berlusconi's ridiculous grin, his obsession with opulence, his disdain for etiquette, and his ability to spin anything to make himself look good irrespective of the facts clearly showing that he's lying and yes, it's supposed to remind us of a certain pathological liar currently living at Pennsylvania Avenue NW.

Thematically, a major issue is acquisition; of capital, of property, of power, of influence, of anything.

The driving force of so many of the characters especially people like Morra, Tamara, and Kira is simply "more".

These are people who can literally never be satisfied. Indeed, on three separate occasions, a character says, "Having it all isn't enough".

Berlusconi's attitude to holding public office is similar, and is brilliantly dramatised in arguably the film's best scene.

After deciding to return to politics, he tests himself to see whether he still has "it. It's a Servillo acting masterclass, and it's very funny, but it's also very telling - rather than brushing up on policy, or trying to clean his image up, this is how he prepares himself to attempt to topple the sitting government.

Another theme is the normalisation of decadence. For example, we see cocaine being snorted off escorts' naked bodies so often that by the time we get to the last half-hour or so, we don't even register it anymore.

This isn't the case of a filmmaker accidentally overexposing a trope. Rather, overexposure is the trope; something like this should never be normalised, yet in this environment it most certainly is.

In one brilliantly staged scene, as Morra and his escorts are walking through Rome, a garbage truck crashes and explodes, throwing its contents into the air before it rains down on the escorts.

However, just as the garbage reaches them, the film cuts to a pool party in Morra's villa, and instead of garbage falling from the sky, the escorts are instead in the middle of a shower of ecstasy tablets.

However, for all its strengths, Loro is nowhere near the quality of Sorrentino's recent English-language output - This Must Be the Place , the horrifically underrated Youth , and the glorious The Young Pope , whilst it pales in comparison to La grande bellezza for my money one of the top twenty films of the century, thus far.

Sure, this is perhaps the most quintessential Sorrentino film he has yet made, and everything that makes a film a "Sorrentino film" is present and accounted for - the visual opulence, the hedonistic milieu, the undercurrent of corruption and greed, the casual sexuality.

The biggest problem, however, is that structurally, the international cut is unable to escape the bifurcated narrative design of the original edits, with the story narratively and thematically divided into two halves.

The first half focuses on Morra and a group of politicians and hangers-on the eponymous "loro", meaning them ; the second half focuses more tightly on Berlusconi himself, especially his relationship with Veronica, with the film rarely leaving his Sardinian estate.

And as you can probably imagine, the transition is not entirely smooth, with entire subplots abandoned without explication or resolution, and important characters fade into the background and often disappear Morra himself features in only a couple of scenes in the second half.

That said, however, this is still Sorrentino, so no matter the problems, there's always going to be much to admire.

He's a master auteur and here turning his attention to perhaps Italy's most notorious post-War politician, he gets plenty of inspired mileage out of the tawdry subject matter.

Very much a chronicler of the darkness behind Italy's sparkle, Sorrentino suggests that Berlusconi, and men like him, are driven by vanity and a desire for power as its own reward.

Yes, the storyline is a little slack, and, yes, it somewhat unexpectedly finds humanity in the man, and yes, it's Sorrentino's weakest film for a while.

But it's also a Sorrentino film. And for that, if nothing else, it's worth a look. Sign In. Keep track of everything you watch; tell your friends.

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