Forum della Rete G2 – Seconde Generazioni

va bene non parliamo piu' del continente migliore del vostro...

City of God è bellissimo! Quoto Jeg.
Cmq qui non si parla solo di africa, ma si parla di film e documentari genericamente interessanti.

The Apu Trilogy is a trilogy consisting of three Bengali films directed by Satyajit Ray: Pather Panchali (Song of the Little Road), Aparajito (The Unvanquished) and Apur Sansar (The World of Apu). The films—completed between 1955 and 1959—were based on the novels of the Bengali author Bibhutibhushan Bandopadhyay. The original music for the trilogy was composed by Ravi Shankar.

Produced on a shoestring budget [1] of Rs. 1.5 lakh ($3000)[2] using an amateur cast and crew,[3] the trilogy was a milestone in Indian cinema and remains one of the finest examples of Parallel Cinema. The three films went on to win many national and international awards, including three National Film Awards and seven awards from the Cannes, Berlin and Venice Film Festivals, and are today frequently listed among the greatest films of all time.



Plot
Apu and his sister Durga running to catch a glimpse of a train, a famous scene in Pather Panchali (1955).

The movies are a "coming of age" narrative in the vein of a bildungsroman, describing the childhood, education and early maturity of a young Bengali in the early part of the 20th century. The first film Pather Panchali is about Apu's early experiences in rural Bengal, as the son of a poor but high caste family. His father Harihar, a Brahmin, has difficulty in supporting his family. After the death of Apu's sister, Durga, the family moves to the holy city of Benares.

In the second film Aparajito, the family's finances are still precarious. After his father dies there, Apu and his mother Sarbajaya come back to a village in Bengal. Despite incessant poverty, Apu manages to get formal schooling and turns out to be a brilliant student. The growing Apu comes into conflict with his mother. Later, when his mother dies too, he has to learn to live alone.

In the third film Apur Sansar, attempting to become a writer, he accidentally finds himself pressured to marry a girl who has rejected her mentally ill bridegroom. Their blossoming marriage ends in her death in childbirth, after which the despairing Apu abandons his child, but eventually returns to accept his responsibilities.

Three Colours (Polish: Trzy kolory) is the collective title of three films — a trilogy — directed by Krzysztof Kieślowski, two made in French and one primarily in Polish: Trois couleurs: Bleu (Three Colours: Blue) (1993), Trzy kolory: Biały (Three Colours: White) (in French: Blanc) (1994), and Trois couleurs: Rouge (Three Colours: Red) (1994). All three were co-written by Kieślowski and Krzysztof Piesiewicz (with story consultants Agnieszka Holland and Sławomir Idziak) and have musical scores by Zbigniew Preisner.

The films were Kieślowski's first major successes outside of Poland, and are his most acclaimed works after The Decalogue.

Themes
Blue, white, and red are the colours of the French flag in left-to-right order, and the story of each film is loosely based on one of the three political ideals in the motto of the French Republic: liberty, equality, fraternity. As with the treatment of the Ten Commandments in The Decalogue, the illustration of these principles is often ambiguous and ironic. As Kieślowski noted in an interview with an Oxford University student newspaper, “The words [liberté, egalité, fraternité] are French because the money [to fund the films] is French. If the money had been of a different nationality we would have titled the films differently, or they might have had a different cultural connotation. But the films would probably have been the same.”

The trilogy are also interpreted respectively as an anti-tragedy, an anti-comedy, and an anti-romance.

Tsotsi is a 2005 film written and directed by Gavin Hood. The film is an adaptation of the novel Tsotsi, by Athol Fugard. The soundtrack features Kwaito music performed by popular South African artist Zola as well as a score by Mark Kilian and Paul Hepker featuring the voice of South African protest singer/poet Vusi Mahlasela.

Set in a Soweto slum, near Johannesburg, South Africa, the film tells the story of Tsotsi, a young street thug who steals a car only to discover a baby in the back seat.

The film won the 2005 Academy Award for Best Foreign Language Film and was nominated for the Golden Globe for Best Foreign Language Film in 2006.

Tsotsi was the inspiration behind the Tamil language film called "Yogi" starring director Ameer Sultan.




Plot
His mother dying from a terminal disease, the young David (Benny Moshe) ran away from an abusive father and lived with other homeless children in a series of large concrete construction pipes. A few years later, David, who now goes by the name Tsotsi (Presley Chweneyagae), is leader of a gang including his friends Butcher (Zenzo Ngqobe), Aap (Kenneth Nkosi) and Boston (Mothusi Magano). After getting involved in a murder committed by Butcher during a mugging, Tsotsi and Boston get into a fight which leaves Boston badly injured. Later on Tsotsi shoots Pumla (Nambitha Mpumlwana), a young woman, while stealing her car, only to discover a three-month-old baby in the back seat. Tsotsi hastily strips the car of its valuables and takes the baby back to his shack. Pumla survives the attack and works with a police artist to create a composite sketch of Tsotsi's face, which is then run in the newspapers.

Realizing that he cannot properly care for the baby on his own, Tsotsi spots Miriam (Terry Pheto), with a young child strapped to her back, collecting water from a public tap. He follows her to her shack and forces her at gunpoint to feed the kidnapped child. Meanwhile, rich gang leader Fela (Zola) begins attempting to recruit Aap, Boston and Butcher to work for him. After he takes the child to Miriam a second time, she asks Tsotsi to leave the child with her so that she can care for him on Tsotsi's behalf, to which he agrees.

Tsotsi decides to take care of the injured Boston, and has Aap and Butcher take Boston to his shack. Boston, who is called Teacher Boy by his friends, explains that he never took the teachers' examination, and Tsotsi tells him that the gang will raise the money so that Boston can take the exam. To do so, they will have to commit another robbery.

Cry Freedom is a 1987 British feature film directed by Richard Attenborough, set in the late 1970s, during the apartheid era of South Africa. The film was shot in neighbouring Zimbabwe, and, although not banned in South Africa, cinemas showing the films were faced with bomb threats. According to the Internet Movie Database, the film was seized by authorities on 29 July 1988. In some cases, there were reports that prints of the films were wrenched off the cinema projectors and the film remained unseen in South Africa until 1991.



Summary
Cry Freedom is based on the true story of Steve Biko (Denzel Washington), the charismatic South African Black Consciousness Movement leader, and Donald Woods (Kevin Kline), the liberal white editor of the Daily Dispatch newspaper. After Biko was arrested and killed while in police custody, Woods wrote a book entitled Biko exposing police complicity in his death. For him to get the book published, he had to escape from South Africa. This book, along with Woods's autobiography "Asking For Trouble," became the basis for this film.

When Biko first appears in the film, he has already been "banned" by the South African government. "Banning" meant he was not allowed to be in the same room with more than one other person outside his immediate family, and not allowed to write anything for either public or private consumption. Additionally, he was not allowed to leave his defined banning area. Initially, Woods is critical of Biko's views and actions in his newspaper but is persuaded to meet with him. Biko invites Woods to visit a black township to see the impoverished conditions and to witness the effect of the government imposed restrictions which make up the apartheid system. Woods begins to agree with Biko's desire for a South Africa where blacks have the same opportunities and freedoms as those enjoyed by the white population. As Woods comes to understand Biko's point of view, a friendship develops between them.