This highly engaging film takes us on a journey through the life of one of the most prevalent female icons: Frida Kahlo. She was a prolific self-portraitist, using the canvas as a mirror through all stages of her turbulent and, at times, tragic life. Guided with interview, commentary and Frida’s own words, EXHIBITION ON SCREEN uncovers that this, however, was not a life defined by tragedy. Featuring key exhibitions and interviews with world-renowned Kahlo curators, EXHIBITION ON SCREEN explores the extraordinary symbolism and themes in these personal canvases to seek a deeper understanding of the real Frida Kahlo. Using cinema to take an up-close and intimate look at her works we examine how great an artist she can be considered. Displaying a treasure trove of colour and a feast of vibrancy on screen, this personal and intimate film offers privileged access to her works and highlights the source of her feverish creativity, her resilience and her unmatched lust for life, men, women, politics and her cultural heritage. We might think we already know Frida Kahlo – the image of floral crowns, big brows and folk style clothing have made her a muse to generations – but what lies beneath the surface of this intensely passionate woman?
We take a close look at one of the most crucial elements of Leonardo da Vinci’s legacy—his art. Key works examined are The Mona Lisa, The Last Supper, Lady with an Ermine, Ginevra de’ Benci, Madonna Litta, Virgin of the Rocks and more than a dozen others. Released in honor of the 500th anniversary of his death, every one of his peerless paintings and drawings burst in Ultra HD quality, never seen before on the big screen.
PG-13for sequences of violence and action, some disturbing images, brief strong language and some suggestive material.
In No Time To Die, Bond has left active service and is enjoying a tranquil life in Jamaica. His peace is short-lived when his old friend Felix Leiter from the CIA turns up asking for help. The mission to rescue a kidnapped scientist turns out to be far more treacherous than expected, leading Bond onto the trail of a mysterious villain armed with dangerous new technology.
Festspielhaus Baden-Baden, Germany Starring Renee Fleming and Robert Dean Smith The proven Richard Strauss star trio of Renée Fleming, Sophie Koch and Christian Thielemann gets together once again at the Festspielhaus in Baden-Baden, which continues its series of triumphs following the widely acclaimed Rosenkavalier. A “deluxe offering”, writes Die Welt. With Hugo von Hofmannsthal’s and Richard Strauss’ third collaboration – which devotes itself with great humour to the eternal conflict between art and mere entertainment – Strauss specialist Thielemann again gives proof of his high-calibre musicianship. For the first time, Thielemann leads an opera production at the head of the Sächsische Staatskapelle Dresden, which has performed the world premieres of nine Strauss operas. With Dresden’s “miraculous harp”, he conjures up a “heady, transparent and supple sound” (FAZ). An amazingly “chamber-musical ... airy” Strauss, claims the Wiener Zeitung. Renée Fleming, the “world’s best soprano” (The New York Times), dazzles in her role debut as the spurned “Ariadne” and once more confirms her one-of-a-kind stage presence. Fleming does full justice to her reputation as “best, most noble-voiced Strauss singer” (Die Welt). Singing alongside her are the musically outstanding Sophie Koch as the captivatingly despairing composer, Robert Dean Smith as a spirited Bacchus and Jane Archibald as a virtuoso Zerbinetta, who ensure “cheers and cries of bravo in Baden-Baden’s Festspielhaus” (SZ). Enhancing the strong ensemble achievement is René Kollo as Major-Domo. In his eleventh production for the Festspielhaus Baden-Baden, Philippe Arlaud puts the accent on colours, humour and lovely sets. He stages the opera – a hybrid of comedy and tragedy – with a brilliant palette of varied colours and contrasting effects.
Munich Philharmonic, Germany Starring Renee Fleming, Diana Damrau, and Jonas Kaufmann “The best of the best assembled on stage” wrote Germany’s leading newspaper Frankfurter Allgemeine Zeitung after the premiere of Richard Strauss’ Der Rosenkavalier at the Festspielhaus Baden-Baden. Indeed, it would be hard to find a more ideal cast for this late-Romantic Rococo pastiche anywhere in the world. As the Marschallin, stellar soprano Renée Fleming uses her velvety tones and autumnal shadings to complement the youthfully lyrical and dynamic voice of Sophie Koch as her young lover Octavian. Diana Damrau’s Sophie enhances the trio’s sparkle with her ethereal high notes. Next to Franz Hawlata as a swaggering Baron Ochs and the always impressive Franz Grundheber as Faninal, the Baden-Baden production rounds off its male leads with international tenor star Jonas Kaufmann as the “Italian Singer." Leading his Müncher Philharmoniker, acclaimed Romantic specialist Christian Thielemann revels in Strauss’s lustrous melancholy and obtains a rarely heard transparency from the brass and woodwinds. Bolstered by these solid orchestral underpinnings, Herbert Wernicke’s Salzburg Festival production – which also scored a great success at Paris’ Opéra de la Bastille – has been polished and trimmed here by Alejandro Stadler. It places the cast of fabulous singers in sumptuous setting of timeless elegance dominated by a play of mirrors reflecting the shifting emotions of the lead trio.
Hamburg Opera, Germany Starring Ambriogo Maestri and Maija Kovalevska Is opera still just a pleasant pastime and oasis of high culture? Not if Calixto Bieito has any say in the matter. The shocking, outrage-inducing director whose surprise-packed productions can be relied upon to attract attention is a welcome guest at Hamburg State Opera. His most recent venture is a staging of Verdi’s comic opera Falstaff, which Bieito reinterprets as an apocalyptic satire on entertainment and prototype scenario of modern society. Bieito’s take on Falstaff is a black comedy that exposes the tragicomic aspect of human existence. He casts the eponymous hero of the piece as a charismatic and perverse pleasure-seeker, a melancholy – and corpulent – bon vivant, whose provocations hold up a mirror to our society. Falstaff is Verdi’s last work for the stage and as such his testament. By the time he composed it he had long since broken free of convention and no longer cared what the world thought of him. Falstaff shows us Verdi the tragedian smiling wisely as he takes his final bow. The opera even ends with the words “Tutto nel mondo è burla” – “All the world’s a joke”. Yet there is nothing bitter about this message. The new Hamburg production boasts a world-class cast with Ambrogio Maestri – “a Falstaff for our times” – in the title role and Maija Kovalevska as Alice Ford.
Ballet from Zurich Opera, Germany Choreography by Christian Spuck Starring Dominik Slavkovský and Michelle Willems Because of Tchaikovsky’s imaginative music, The Nutcracker is one of the most popular works of the ballet repertoire, instantly bringing to mind scenes of a splendidly decorated Christmas room, dancing snowflakes and the waltz of the flowers. The plot of The Nutcracker is based on a novella by E.T.A. Hoffmann, one of the most famous writers of German Romanticism. While Hoffmann’s masterful fairytale virtuously jumps back and forth from a dream to reality, in its adaptation as a ballet libretto by Alexandre Dumas and Marius Petipa, it lost much of its dark romantic fantasy. Christian Spuck attempts to distance himself from the Dumas/Petipas version in his choreography and puts the literary origin at the heart of his ballet, emphasizing the fantastical nature of the original rather than the delightful Christmas fairytale and bringing back the fairytale of the princess Pirlipat, who turns into a nut monster, as told by E.T.A. Hoffmann. In Rufus Didwiszus’ stage setting, the workshop of the godfather Drosselmeier turns into an old revue-theater, where the characters of the ballet come to life. Spucks’ choreography plays with the richness of characters in E.T.A. Hoffmann’s narrative cosmos, the absurdity and overwrought humor that inhabit them while at the same time looking down into the dark abyss of Romanticism.
Ballet from La Scala, Italy Choreography by Rudolf Nureyev Starring Polina Semionova and Timofey Andrijashenko In his rendering of the dreamiest, most sumptuous of ballets, perhaps the ballet par excellence, Nureyev maintained the incredible purity of Petipa’s original choreography, just as he had learned it at the Kirov, but infused it with a fresh sense of theatrical drama and inner strength through remarkable variations and an articulated choreographic composition that reveals all of the characters’ psychological nuances. Indeed, it was to La Scala in 1966 that Nureyev entrusted the debut of “his” Sleeping Beauty, and now, twelve years after its last performance, his masterpiece returns to the stage with the magnificent sets created by Oscar winner Franca Squarciapino at La Scala in 1993, and Felix Korobov conducting the extraordinary score by Tchaikovsky.
From Executive Producers Robert Redford, Jessica Springsteen and Patti Scialfa Springsteen. The Mustangs: America's Wild Horses takes audiences on an odyssey throughout America to places few people have seen or even know about. There are more than 80,000 wild horses on our federal lands and more than 50,000 in government.
Rfor language, sexual content, nudity and some drug material.
The Velvet Underground explores the multiple threads that converged to bring together one of the most influential bands in rock and roll.