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1858 votes / Drama / Directed by: Karim Aïnouz / Country: Brazil / / Actors: Carol Duarte. Two inseparable sisters in 1950s Rio de Janeiro are forced to live apart in Karim Ainouz's sensual melodrama about spirited women in a machista culture. The lustrous textures, boldly saturated colors and lush sounds of The Invisible Life of Euridice Gusmao serve to intensify the intimacy of Karim Ainouz's gorgeous melodrama about women whose independence of mind remains undiminished, even as their dreams are shattered by a stifling patriarchal society. Adapted from the 2015 debut novel by Martha Batalha, the film hinges on a heartbreaking separation that causes decades of yearning and unanswered questions. But its supple moods are far more complex than that narrative core might suggest, winding through passages by turns seductive and sorrowful, tender and raw. In features from 2002's Madame Sata through 2014's Futuro Beach, NYU-trained Brazilian filmmaker Ainouz has always been more of a visual and tonal storyteller than a slave to plot, though his attentive eye for illuminating character detail and social context has been a constant. He settles on a deft middle ground here, following the novelistic sweep of the source material without surrendering the loose, dreamy approach that has made even his most imperfect work so pleasurable. Running a generous two hours and 20 minutes, his new film is languid at times but always involving, enveloped in the characteristically Brazilian feeling of melancholy known as saudade, yet sustained by a sense of warmth and solidarity that seems present even when all physical connection between the central characters has been broken. A deep love and respect for women — sisters, mothers, female friends who become family surrogates — and a somber acknowledgment of the wrongs they absorb informs every scene. The movie also benefits from the distinctive presences of relative screen newcomers Carol Duarte and Julia Stockler, giving performances that range across a spectrum from enervated vulnerability to jagged, edge-of-insanity frustration in the key roles; and from a lovely extended appearance toward the end by the great Fernanda Montenegro, so unforgettable in Walter Salles' Central Station. Her face at 90 is a magnificent road map of humanity, emotional experience, and in this role, subsumed hurt. The opening images of rainforest vegetation converging with rocky coastline on the edge of Rio de Janeiro, shot in startlingly vivid shades by French cinematographer Helene Louvart and accompanied by composer Benedikt Schiefer's pensive score, instantly back up the movie's tagline promise of "a tropical melodrama. " The separation of 18-year-old Euridice (Duarte) from her sister Guida (Stockler) 20, is foreshadowed when they lose one another while heading back home as a storm approaches. Their stern father Manuel (Antonio Fonseca) and dutiful mother Ana (Flavia Gusmao) run a conservative household, but the young women nourish each other's spirits. Euridice reluctantly covers for Guida's clandestine nighttime outings to dance clubs with handsome Greek sailor Yorgos (Nikolas Antunes) and while she frets about sin, she also relishes the excitement of her older sisters sexual discoveries. Guida, in turn, encourages the hopes of Euridice, a gifted pianist, to study at the music conservatory in Vienna. Their life-giving bond is severed when Guida takes off with her beau on a ship bound for Athens, leaving word in a letter that she'll return when she's married. But Yorgos turns out to be a womanizing louse, so instead Guida comes back single and pregnant. In a scene of shocking harshness, she is disowned by her father while her mother stands by helplessly. When Guida begs to see her sister, Manuel tells her Euridice has left to study in Vienna, a lie that feels even crueler given how steadily that dream slips out of the aspiring pianist's grasp. In truth, Euridice has married a charmless man-child named Antenor (Gregorio Duvivier) whose idea of wedding-night consummation is brusquely clumsy, to put it mildly. And despite her efforts to avoid getting pregnant before her conservatory audition, she soon finds herself expecting a child. Guida, in the meantime, has given birth to a son, and is taken in by tough but caring former prostitute Filomena (Barbara Santos. While the drama does not touch directly on the LGBT themes that have often figured in Ainouz's work, there's an understated queer correlation in the way that the abandoned Guida, her young son and Filomena evolve into a chosen family. In one of her many letters throughout the 1950s to Euridice, heard in voiceover, Guida writes, Filomena is my mother, my father and also my sister. That relationship, as much as the one that lingers between Euridice and Guida in their hearts and minds, is beautifully observed with the filmmaker's characteristic economy. There's a poignant contrast between Guida's relative contentment — albeit with the struggle of working two jobs and the sadness of an additional loss on top of her sister's disappearance from her life — and the hollow existence of Euridice, her fulfillment thwarted by both her husband and father. Antenor's refusal to understand why simply being able to play the piano at home isn't enough for her succinctly encapsulates men's limited understanding at that time — and to this day, in many cases — of women's drives, beyond the roles of wife, mother and homemaker. While the film never gets too literal about the Greek roots of the main character's name, it seems subtly significant, reinterpreting the Orpheus myth in the failure of music to save Euridice, if not from Hell, then from a deadening life of numbness. Ainouz has minimal interest in conventional explanatory linking scenes, skipping forward in time with only the dates of Guida's undelivered letters identifying the advancing years. (Heike Parplies' editing has a graceful fluidity throughout. And the director never overplays the aching proximity of the sisters, unknowingly living parallel lives in different parts of the same city. This factor acquires added tension, however, through being confined just to a single exquisitely crafted scene, with the now habitually tetchy Euridice in the restroom of a restaurant one Christmas Eve, while her father, back at the table, nervously watches the snobby maître d' refuse entry to Guida and Filomena at the door. You hold your breath as Guida's son wanders inside undetected and strikes up the kind of instant rapport with Euridice's daughter that's typical of young children, the two of them captivated by the restaurant's aquarium. That suspenseful moment seems to point to an inevitable reunion, but instead, the script by Murilo Hauser, Ines Bortagaray and Ainouz fast-forwards some 60 years to a discovery both shattering and strangely uplifting, finding fragments of comfort and beauty near the end of the chief protagonist's broken life. Despite its many depictions of cruel insensitivity, quotidian unfairness and chronic disappointment, The Invisible Life of Euridice Gusmao is a haunting drama that quietly celebrates the resilience of women even as they endure beaten-down existences. Ainouz's expert modulation of tone ensures that the long film keeps surprising us with new turns, frequently marked by ravishing use of Schiefer's score, combined with piano passages from Liszt, Grieg and Chopin. Nowhere, however, is the music more powerful than in the emotionally loaded scene in which Euridice finally gets to audition for the conservatory, playing Chopin's Etude Op. 10, No. 9 in a triumph blunted once again by crushing reality. Cast: Carol Duarte, Julia Stockler, Gregorio Duvivier, Fernanda Montenegro, Barbara Santos, Flavia Gusmao, Maria Manoella, Antonio Fonseca, Cristina Pereira, Gillray Coutinho Production companies: RT Features, Pola Pandora, Sony Pictures, Canal Brasil Director: Karim Ainouz Screenwriters: Murilo Hauser, Ines Bortagaray, Karim Ainouz, based on the novel by Martha Batalha Producers: Rodrigo Teixeira, Michael Weber, Viola Fugen Executive producers: Camilo Cavalcanti, Mariana Coelho, Viviane Mendonca, Cecile Tollu-Polonowski, Andre Novis Director of photography: Helene Louvart Production designer: Rodrigo Martirena Costume designer: Marina Franco Music: Benedikt Schiefer Editor: Heike Parplies Sales: The Match Factory Venue: Cannes Film Festival (Un Certain Regard) 139 minutes.
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A vida invisivel dublado. Brazilian filmmaker Karim Aïnouz took out Cannes prestigious Un Certain Regard prize with this exquisite tropical melodrama about two sisters who share an unshakable bond in an oppressively patriarchal culture. Awash in saturated colour, heightened emotion and balmy stylistic excess, the new film from Brazilian director Karim Aïnouz ( Central Airport THF, MIFF 2018) lives up to its delicious promise of “tropic melodrama” while delivering a rich and pointed feminist critique. Based on Martha Batalhas caustically funny novel of the same name, The Invisible Life of Eurídice Gusmão opens in early 1950s Rio de Janeiro, picking up the story with virtuous teenage pianist Eurídice and her fun-loving older sister Guida. Aiming to escape their overbearing family life, Guida elopes and runs away to Greece, while Eurídice dreams of studying in Austria. Circumstance keeps the sisters apart over the ensuing years, and the film follows their trials and tribulations as they try to find their way back to each other. Lushly expressive and emotionally operatic, its a wholly immersive, rewarding cinematic experience. “Ravishing … This heartbroken tale of two sisters separated for decades by familial shame and deceit is a waking dream, saturated in sound, music and color to match its depth of feeling. ” – Variety.
A vida invisivel. A vida invisível oscar. My biggest turndown with Invisible Life's biggest competition inside Brazil this year ( Bacurau' was the excess of metaphors to make it a smart work. some of which have absolutely no contibution to the story. Still, it was able to provoke a lot of emotional reactions, it's specially smart and meaningful to watch from a Brazilian perspective. Invisible Life is something different, it's universal, delicate and rough at the same time, and it's story has no need to explaining. we all know what it is about. Still, they explain (the only reason why it's not a 100% for me.
Carol Duarte and Julia Stockler are incredible. Also need to mention the short appearance from Brazil's greatest actress of all time, Academy Award nominee Fernanda Montenegro, not only for the name but mostly because, after 120 minutes of the movie, her performance was still able to reach out to the emotions you built for the characters in the past 2 hours.
Overall, absolutely beautiful. The film is a visual spectacle, but also a beautiful and touching story.
Lindo filme e lindo meu povo negro guerreiro ✌🏿. Quando o trailer nn mostra nada é que o filme é mte bom. Esse ator se joga nos papéis é incrível sua entrega, Phoenix é inigualável parabéns 👏👏👏👏👏. Amei a música da Ariana Grande no filme❤🎶. É evidente que todos queríamos o Mushu nesse live action. Mas depois desse trailer eu sinceramente acho que vou dar uma chance pra esse filme, óbvio que não vai ser a mesma história da animação, mas espero que seja tão bom quanto ela.
A Vida InvisÃvélo. How much did our mothers and grandmothers suffer from the patriarchy? How much did they have to hide, supress and ignore to protect us from past abuses?
Karim Ainouz tells, in his emotional tropical melodrama, stories from a time when a woman was expected to be subordinate in every single aspect of her life. Guida and Eurídice, apart from each other, lived outrageous trajectories, and, unfortunately, with expressive scars that lasted until today. The lies of extremally conservative parents, the superb and envy of Eurídice's husband, the suffering in maternity, the crucial solidarity between desperate women - all of it built a strong indignation and, at last, everybody cries in the end: a real tragic one. Fernanda Montenegro is an acting gem.
With technical maestry, Karim's team guides the movie in a raw way. The cinematography of Hélène Louvart is outstanding capturing old, green and dirty Rio de Janeiro. Karim's directing choices are really touching and carry a whole bunch of social issues with flow. The cello and piano from Benedikt Schiefer are as unsettling as the character's obstacles.
I hope that when women (especially older ones) watch this movie, they identify themselves and keep fighting against the male authoritarianism, fighting for freedom.
I hope that when men watch this movie, they identify in themselves traces of sexism to keep changing, to keep evolving and encouraging other ones to be better.
It's definitely an incredible and important movie that answers the questions above with some of the multiple possibilites, multiple realities that exist. It's a must see.
A vida invisível de eurídice gusmão filme completo. A vida invisivel filme. A vida invisível meus 2 centavos. A vida invisível sessoes. Sensacional. A vida invisível de eurídice gusmão trailer oficial. A vida invisível critica. A vida invisível. A vida invisível estreia. Brazil / Germany 2019, 139 min Section: Horizons Year: 2019 Its 1950. Inseparable sisters Euridíce (18) and Guida (20) live with their conservative parents in Rio de Janeiro. Each girl has her own special dream in life, and neither can imagine being without the other. And yet one day theyll have to go their separate ways… With this stylistically precise period melodrama, renowned Brazilian director Karim Aïnouz gave audiences one of the most emotional experiences at this years festival in Cannes, where The Invisible Life of Eurídice Gusmão won the Prix Un Certain Regard. Synopsis The year is 1950. Inseparable, free-thinking sisters Eurídice (18) and Guida (20) live with their conservative parents in Rio de Janeiro. Each girl has her own special dream in life: Eurídice yearns to study piano at the Vienna Conservatory, and Guida dreams of great love. Neither can imagine being without the other, and yet one day theyll have to go their separate ways… With his stylistically precise period melodrama about sisterly love and womens indomitable inner strength, renowned Brazilian director Karim Aïnouz gave audiences one of the most emotional experiences at this years festival in Cannes, where The Invisible Life was named Best Film in Un Certain Regard. Lenka Tyrpáková About the director Karim Aïnouz (b. 1966, Fortaleza, Brazil. Selected filmography: Madame Satã (2002) Love for Sale ( O Céu de Suely, 2006) The Silver Cliff ( O Abismo Prateado, 2011) Futuro Beach ( Praia do Futuro, 2014) Central Airport THF ( Zentralflughafen THF, 2017) The Invisible Life of Eurídice Gusmão ( A vida invisível de Eurídice Gusmão, 2019) About the film Color, DCP Director: Karim Aïnouz Screenplay: Murilo Hauser, Inés Bortagaray, Karim Aïnouz Dir. of Photography: Hélène Louvart Music: Benedikt Schiefer Editor: Heike Parplies Art Director: Rodrigo Martirena Producer: Rodrigo Teixeira, Michael Weber, Viola Fügen Production: RT Features Coproduction: Pola Pandora, Canal Brasil, Sony Pictures, Naymar Cast: Carol Duarte, Julia Stockler Sales: The Match Factory Guests Film Director.
A Vida invisível. Teve várias versões com fantasma. Agora é o homem invisível. A vida invisivel torrent. 13 wins & 13 nominations. See more awards » Learn more More Like This Drama 1 2 3 4 5 6 7 8 9 10 7. 9 / 10 X Aged penniless actors are living in a old people's home. They always talk about their past glory or failures. One day Raphael Saint-Clair comes; he has been a famous actor and had a lot of. See full summary » Director: Julien Duvivier Stars: Victor Francen, Michel Simon, Louis Jouvet, Thriller 7 / 10 Francois Donge, a wealthy manufacturer, is fighting death at hospital. He officially suffers from a food poisoning. But actually, his wife Bebe deliberately poisoned him. Flashback: ten. See full summary » Henri Decoin Danielle Darrieux, Jean Gabin, Jacques Castelot Documentary Bertrand Tavernier's personal journey through French cinema, from films he enjoyed as a boy to his own early career, told through portraits of key creative figures. Bertrand Tavernier Bertrand Tavernier, François Truffaut, Jean-Paul Gaultier Short 7. 1 / 10 Willing to prove his manhood to his handsome buddies, Marko tries to find a girl. In the encounter with a victim of a past sexual trauma he discovers an aggressive part of himself. Dusan Zoric Marko Grabez, Miodrag Dragicevic, Mihajlo Jovanovic Romance 6. 4 / 10 The marriage between Gabrielle and Jean begins to fray after the discovery of a letter that belongs to Gabrielle. Patrice Chéreau Isabelle Huppert, Pascal Greggory, Claudia Coli 9. 2 / 10 Famous French director Tavernier tells us about his fantastic voyage through the cinema of his country. André Marcon, Thierry Frémaux 7. 4 / 10 Andre has died under mysterious circumstances leaving behind his wife and two daughters who must now learn to grow together or risk being swept apart forever. David Uloth Emilie Bierre, Réal Bossé, Mélissa Désormeaux-Poulin Musical After one of her fellow taxi dancers is murdered by an unknown man who she met through a personal column advert, Adrienne Charpentier is recruited by the police to answer a series of similar adverts to try to track down the killer. Robert Siodmak Maurice Chevalier, Pierre Renoir, Marie Déa A frustrated teenager frees herself from her mother's influence and her narrow life in a small industrial town to find out who she really is. Sébastien Pilote Karelle Tremblay, Pierre-Luc Brillant, François Papineau 7. 6 / 10 André Chatelin is a restaurant owner in Les Halles in Paris. One morning, a girl named Catherine asks to see him. She happens to be the daughter of his estranged wife, Gabrielle, that André. See full summary » Danièle Delorme, Robert Arnoux Music Gabrielle is a young woman with Williams syndrome who has a contagious joie de vivre and an exceptional musical gift. Since she met her boyfriend Martin, at the recreation centre where they. See full summary » Louise Archambault Gabrielle Marion-Rivard, Alexandre Landry, 7. 8 / 10 Between high school pressure and family disorganisation, Mylia is trying to find her bearings. Meeting Jacinthe and Jimmy will lead her to outline a new life. Geneviève Dulude-De Celles Robin Aubert, Irlande Côté Edit Storyline Eurídice and Guida are two inseparable sisters living at home with their conservative parents in 1950's Rio de Janeiro. Although immersed in a traditional life, each one nourishes a dream: Eurídice of becoming a renowned pianist, Guida of finding true love. In a dramatic turn, they are separated by their father and forced to live apart. They take control of their separate destinies, while never giving up hope of finding each other. Plot Summary Add Synopsis Details Release Date: 20 December 2019 (USA) See more » Also Known As: Invisible Life Box Office Cumulative Worldwide Gross: 1, 656, 746 See more on IMDbPro » Company Credits Technical Specs See full technical specs » Did You Know? Trivia This is adapted from the novel of the same name by Martha Batalha. See more » Connections References Peter Pan (1953) See more ».
Que vergonha esse lista. 8 filmes europeus. Decepcionante. A vida invisível filme trailer. Trailer [pt st en] by Karim Aïnouz mp4 (1920x1080) 1:47 Copy and paste the code in your html to embed this video: Rio de Janeiro in the 1940s, the life of Guida and Euridice Gusmão, raised to be invisible in the eyes of the Brazilian society of that time, like all the other women of that generation. Mano até que está bom, mas não tirem o Mushu pô. A vida invisível download. A vida invisível rotten tomatoes. Parabéns para o todo o cinema nacional. A vida invisível trilha sonora. A vida invisível online. A vida invisível cinema.
Tiago é um dos únicos que vejo apresentar um vocabulário extremamente vasto sem parecer boçal. A vida invisível filme completo. A Vida InvisÃvel satis. A vida invisível trailer oficial. A vida invisível trailer english. Só vejo os comentários não pode ter o Mushu pq seria muito fantasioso, mas ter uma bruxa que se transforma em águia ta de boa? Ah vtnc 😐. A vida invisível de eurídice gusmão livro. A Vida InvisÃval d'oise. May 25, 2019 9:33AM PT This year's Cannes Un Certain Regard winner is a nourishing melodrama elevated by Karim Aïnouz's singular, saturated directorial style. A “tropical melodrama” is how the marketing materials bill “The Invisible Life of Eurídice Gusmão. ” If that sounds about the most high-camp subgenre ever devised, Karim Aïnouzs ravishing period saga lives up to the description — high emotion articulated with utmost sincerity and heady stylistic excess, all in the perspiring environs of midcentury Rio de Janeiro — while surprising with its pointed feminist politics and occasionally sharp social truths. Anyone already familiar with Aïnouzs work will know to expect a florid sensory experience, but even by the Brazilians standards, this heartbroken tale of two sisters separated for decades by familial shame and deceit is a waking dream, saturated in sound, music and color to match its depth of feeling. From the first, jungle-set shot, the redoubtable d. p. Hélène Louvart gives the film the daubed, traffic-light palette of a ripe mango; were it possible, youd expect it to have an aroma to match. Having scooped the Un Certain Regard Prize in Cannes, “Eurídice Gusmão” is now strongly positioned to attain a degree of global arthouse exposure that has thus far eluded Aïnouzs work, for all its soulful beauty. Though some judicious trimming to the new films sprawling 139-minute runtime wouldnt have gone amiss, its by far his most broadly crowd-pleasing and emotionally accessible narrative feature to date. Thankfully, those virtues come at little cost to the inclusive queer sensibility that has characterized much of the directors oeuvre, even if its narrative — drawn from Martha Batalhas popular, widely translated 2016 novel — is ostensibly straight in multiple senses. More than one kind of sisterhood powers a story in which female solidarity, in a world of male oppression and manipulation, proves a life-saving force. A woozy Amazonian prologue economically foreshadows the full, anguished drama to come, as the teenaged Eurídice (Carol Duarte) and her older sister Guida (Julia Stockler) lose sight of each other in the rainforest as they make their way home, ahead of a storm in the deep-pink sky. With their cries of each others names swallowed by their thick, iridescent surrounds, the scene feels like an unworldly nightmare, one we can imagine recurring in both womens minds once fate separates them for real. Its 1951, and both sisters have designs on life far away from their rule-bound family home in Rio, run by their father Manuel (Antonio Fonseca) with a mean misogynist streak. Good girl Eurídice, a classical piano prodigy, yearns to escape and master her art at the Vienna Conservatory; good-time girl Guida, whose gifts are less obvious, must hustle out her own way to see the world. And so she elopes to Europe with a dishy Greek sailor, only notifying her appalled parents by letter after the fact, and promising to return after her marriage. Return she does, and all too soon: Sailors will be sailors, after all, and the swift collapse of her maritime fling leaves Guida alone and pregnant, only for the embittered Manuel to deny her sanctuary. Disowning a daughter in need is bad enough; more cruelly still, he tells a lie to keep the sisters apart, claiming that Eurídice has left to pursue her dream in Austria. Would that were true. Instead, Eurídice remains grounded in Brazil, her ivory ambitions slipping away as she settles into an unfulfilling marriage to Antenor (Gregório Duvivier) a boor cut very much from the same drab cloth as her father. And so Aïnouzs film itself finds a rhythm of undulating, fado-toned melancholy as it follows the sisters across the years, so close and yet so far apart, on separate paths that inadvertently circle each other without ever quite intersecting. Guidas frequent letters to Eurídice, imagining and envying the life of a glamorous Continental concert pianist, are relayed in voiceover, a running device that forms the films plaintive psychological chorus — as years and then decades go by without a reply, the missives become an intimate confessional diary as much as anything else. Aïnouz amps up the aching tragedy and dramatic irony of the situation to full melodramatic volume, with a sumptuous assist from Benedikt Schiefers score — itself supported with evocatively chosen classical piano pieces by Chopin and Liszt. One superbly choreographed set piece, seeing the sisters miss each other by seconds in a Rio cafe, is agonizing and manipulative in all the right ways. But “Eurídice Gusmão” isnt just a symphony of misery. Flashes of joy and comradeship enter proceedings as Guida builds a new life for herself in Brazils slums, with wily, kindly prostitute Filomena (Bárbara Santos) as her new guardian angel; she may weather harder knocks than her sister, but finds her own kind of happiness. In this sense, Aïnouz has made both a testament to the resilience of women in a society stacked against them — there are no good men to be found in its vision of toxic patriarchy — as well as a stirring celebration of the families we create when the ones were born into fall away. In a film of grand emotional gestures, the richness of “Eurídice Gusmãos” images and soundscape is entirely appropriate: No one here is permitted to suffer in silence, much less in ugliness. Louvarts lensing, awash in hues and forms that feel sun-ripened into a lush, squishy haze, is a constant marvel here, while Rodrigo Martirenas pattern-splashed production design and Marina Francos thriftily expressive costumes play into the films spirit of earnest excess. Itd be easy for the films leads to be lost in all that mise en scène, but Duarte and Stockler (the former stoic but steadily undone, the latter a firework gradually settling into zen calm) play their big, curving character arcs with lively gusto. Best of all, a late, piercing cameo from 89-year-old Brazilian grande dame Fernanda Montenegro — Oscar-nominated 20 years ago for “Central Station, ” her face deeply storied and closely examined — cathartically gathers all the films loose strands of feeling to weep-inducing effect. Aïnouzs latest film plays its audience like a violin, but when the music is this lovely, why should he not? When youre a production designer, and your mood board is the mental state of the films lead character, it seems like the creative world is your oyster. When the lead character is Margot Robbies Harley Quinn, thats a creative world where all bets are off. “I approached everything through her ditzy, glitzy, analytical, yet throwaway. To open with an establishing drone shot has become something of a cliché for lower-budget films looking to create a sense of scale inexpensively, but in Argentinian director Verónica Chens fifth narrative feature “High Tide, ” the choice feels unusually apt. The camera glides frictionlessly over an opaque turquoise sea, breakers foaming at its edges, and. The Directors Guild of America and the Alliance of Motion Picture and Television Producers have agreed to enter into formal contract negotiations for a successor deal to the DGA master contract on Feb. 10. “The DGA and the AMPTP have also agreed that neither organization will comment to the media, ” the organizations said Tuesday. The. Liza Minnelli was only 25 years old when she won an Oscar for her work as Sally Bowles in Bob Fosses film adaptation of the Broadway musical “Cabaret. ” But after the films release and six months before the Academy Awards were handed out, the two collaborated again — this time on “Liza With a Z. A key witness in the Harvey Weinstein trial took the witness stand for a third day on Tuesday, a day after the trial was halted when she broke down in sobs during cross-examination. Jessica Mann, who claims that Weinstein sexually assaulted her on two separate occasions, testified that she also caught Weinstein trying to film. In the ten years since the Guild of Music Supervisors was formed, the organization has come a long way. Granted, the job still involves low pay, long hours and little respect, but at least the craft has been validated with Grammy and Emmy categories introduced by the Recording Academy and the Television Academy, respectively. ] Former AMC Studios executive Rick Olshansky has joined Verve talent agency in the role of special advisor. Olshansky will help the agency run its business operations and represent Verve on dealmaking with outside entities. The literary-focused agency is marking its 10th anniversary this year. “Ricks invaluable industry experience will help Verve centralize its legal/business affairs.
A vida invisivel film.