I like to travel routes unknown, not for snobbery or thirst for distinguish myself, but simply because i like to follow my thought and my instict in the wake of curiosity.

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CHANEL and a FRENCH FILM “A COMMON THREAD,” allow you to discover the behind the scenes of HAUTE COUTURE.

“The couturier is the architect and we [embroiderers] are the decorators” – François Lesage


CHANEL Spring-Summer 2015 Haute Couture Collection

Those who follow my blog you know that I am a passionate fan and addicted to the world of fashion, but not for his side shallow but I’m always careful to the aesthetic and artistic of this world.

Also because visually the most interesting things in terms of creative direction, scenography are inspired by fashion and not the opposite.

I consider fashion like ART. For this when I can I try to collaborate with this industry for creating scenography for fashion show. I’ve already talked about incredible set design and haute coutire collection that every year THE KAISER Mr. Karl Lagerfeld has created with his genius.haute-couture-ateliers

The work behind Haute Couture is something extraordinary and unimaginable. This year another time with the last show Karl has amazed me.There are currently 5 or 6 major embroidery ateliers in Paris. At the end of World War II their number stood at 40.
To save them from becoming extinct, Chanel and Dior have been acquiring ateliers since the 1980s.
Apart from unveiling the behind-the-scenes of haute couture, the relationships between the couturier (designer), the artisan and the client is the focus on this work. “The couturier is the architect and we are the decorators,” said the late embroiderer François Lesage. What he didn’t say is that the process only really starts with the client. Samples are shown to her for approval and may be altered according to her wishes. Once she’s given the green light, the garment is made, partly in the ateliers and partly in the main fashion house.
broderies-vermontThen it occurred to me a beautiful film which tells the story of a girl whose job is precisely the EMBROIDERER: A COMMON THREAD, (French Title : BRODEUSES).

This is the first feature film directed by Éléonore Faucher, who co-wrote the screenplay with Gaëlle Macé. It was shown at the 2004 Cannes Film Festival and was selected by the Film Society of Lincoln Center and the Museum of Modern Art for inclusion in the 2005 edition of New Directors/New Films.

In Eleonore Faucher’s film, A COMMON THREAD, Lola Naymark plays Claire, a 17-year-old farmer’s daughter whose greatest passion is embroidery.
This film touched me with eerie dream sequences, the film casts a strange spell that’s enhanced by the rhythmic, almost sensual depiction of the painstaking art of embroidery.

1Claire has left her father’s farm and lives in a small studio in town; she works in the local supermarket, but spends all her time designing her intricate patterns. She has a problem, though. She’s pregnant. Claire’s best friend, Lucile, has moved away from the town, but she returns briefly to see her brother, Guillaume, Thomas Laroppe, who is recovering from a motorcycle accident in which his best friend was killed.



Common Thread film (2006)

Through this connection, Claire meets the dead man’s mother, Madame Melikian, Ariane Ascaride, who designs magnificent embroideries for the smart shops in Paris.

This very simple story is imbued with a delicate intimacy thanks to the subtle treatment by director Faucher. A bond forms between these two women.

The film is extremely beautiful, not just in its images of the wonderful embroidery these women create, but in the faces of the characters, particularly the very expressive Lola Naymark.
I hope I have intrigued you on this topic and I show you some pictures from this film and a making of about latest chanel fashion show a few days ago.

See the making of the Spring-Summer 2015 Haute Couture collection and film Trailer.



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MASTER OF SET DESIGN: KEN ADAM “BERLINER” CINEMA SUPERSTAR! Ken and his strange relationship with Stanley Kubrick! Berlinare 2015 is coming , Don’t Miss This Great Opportunity to discover an unbelievable artist.

MASTER OF SET DESIGN: KEN ADAM “BERLINER” CINEMA SUPERSTAR! Ken and his strange relationship with Stanley Kubrick

Berlinare 2015 is coming , Don’t Miss This Great Opportunity to discover an unbelievable artist.


11 December 2014 – 17 May 2015:
Bigger Than Life. Ken Adam’s Film Design

Deutsche Kinemathek – Museum für Film und Fernsehen
Potsdamer Straße 2
10785 Berlin

ken adam

Thunderball (1965), James Bond

Set design is one of the most complicated elements in film. Basically, it’s meant to serve the story and not call attention to itself, while still adding to the mood of the film.
Berlinale is coming and Don’t Miss This Great Opportunity to discover a Berliner Cinema Superstar: Sir Kenneth Adam the most influential film production designer of the last half of the twentieth century.

6Born to a wealthy Jewish family in Berlin in 1921 ( his birth name was Klaus Adam), Adam had a privileged childhood but fled to London 1934 when the Nazis cracked down on Jewish businesses, including his father’s firm. After studying architecture, he served as a fighter pilot for the British during World War II, then wangled a job as a junior draftsman on the otherwise forgettable 1947 film, “This Was A Woman.” Adam worked his way up the ranks to become a production designer, a role that didn’t exist until 1938 when William Cameron Menzies was given the title on “Gone with the Wind.” It was still so peripheral that Adam’s name was misspelled in the credits of “Around the World in Eighty Days” (1956), the first film where he felt he made a creative impact.

He most famous for ‘Dr Strangelove’ and the James Bond films of the 60’s & 70’s. He is also one of only two German nationals who flew for the RAF in World War II.


Thunderball Set (1965)

In London, Adam flew for the RAF – the first German fighter pilot to do so – and he claims that this experience, fraught with action and danger, played a huge role in his design work, particularly the Bond films. Although he still lives in London, Adam has never forgotten his Berlin roots.

There is no doubt that Adam was influenced by the Bauhaus and German Expressionism and the architects who he admired most are Mies Van Der Rohe, Mendelsohn, Gropius and Le Corbusier, and also, in some way, Frank Lloyd Wright .

You only Live Twice (GB, US 1967, Lewis Gilbert)

You only Live Twice (GB, US 1967, Lewis Gilbert) Villains get the best apartments: Blofeld’s Volcano Lair for “You Only Live Twice”. © Ken Adam Archive/Deutsche Kinemathek)

The mastermind behind seven of the first eleven Bond films, including Dr. No, Adam has been lauded as one of the world’s greatest production designers. First recognized during the filming of Around the World in Eighty Days, he has managed to cultivate a rapt following in one of the cinema’s most underappreciated professions, and with it a reputation for grandly expressionistic sets, such as the war room in Dr. Strangelove and Blofeld’s volcanic headquarters in You Only Live Twice.

By the early 70s, Ken’s imagination had made him Hollywood’s most celebrated production designer, and in 1975 he got another call from Mr Kubrick who was preparing to come out of hiding after the fallout from Clockwork Orange. He wanted re-tell Barry Lyndon, Thackeray’s candle lit ode to the regency period. Ken reluctantly agreed. He had happily passed on the opportunity to work on 2001: A Space Odyssey.

barry lindon

Barry Lindon set – Stanley Kubrick

Adam said: “Stanley had got very nasty menacing letters from people threatening his life, so when we were preparing for Barry he wouldn’t move out of his house for 5 or 6 months. I said ‘how can you make a film on location when you don’t go out?’ So he employed an army of young photographers to take pictures of stately homes. But you couldn’t say anything about his paranoia to anyone otherwise he would be on the phone the next day. He controlled everything you said in the press and on set.”

Physically exhausted, Ken had a nervous breakdown, and Kubrick fired everyone on set for six weeks to re-think the film’s strategy.


Dr. Strangelove, Stanley Kubrick

“It wasn’t normal pressure, I can cope with normal pressure,” he says, with a gutsy laugh. “I had to go into a clinic. Stanley was more worried than I was, but I was beyond worrying really. He rang everyday but wasn’t able to talk to me because my psychiatrist wanted to cut this umbilical chord between us. Which he never managed to do actually. When I finally came back to this house, he rang up and asked me if I wanted to direct a scene over in Germany. The moment I heard that I was back in the clinic. Crazy.”

ken adam

The Spy Who Loved Me (GB, US 1977, Lewis Gilbert)

“Kubrick had seen Dr. No and loved it,” Ken says, tugging back a lungful of cigar smoke. “He asked if I would be interested in doing a picture for him. I went to see him and he had a lot of charm and curiosity, but I felt he was also very naïve. Little did I know that there was this gigantic computer like brain functioning all the time!”

He sketched out an idea for the film’s centrepiece – a split-level war room. Kubrick liked it at first but scrapped it after wondering what he would do with the second level. Ken then drew an imposing triangular design, with the director standing behind him commenting on every stroke.

ken adam

The Madness of King George (GB, US 1994, Nicholas Hytner)

“We were too close. It was like a marriage. He was unbelievably possessive and very difficult to work with because he knew every other part of filmmaking, but not design. He was suspicious and I had to intellectually justify every line I drew. That can be so destroying to deal with day after day.”

In 1966, he returned to the city to work on the film Funeral in Berlin and 2001 for collaborating on Taking Sides by Istvan Szabo ; and in 2012, he donated his entire life’s work of over 5000 objects (including nearly 4000 sketches of his film sets) to the Deutsche Kinemathek. This donation forms the basis of the new exhibition.

He also worked on film as Addams family and The Madness of King George.

Don’t Miss This Great Opportunity to discover a great artist.

Confidential source Kubrick-Adam : “TIM NOAKES 2008 “


ken adam

Ken Adam, photo: Andreas-Michael Velten, 2014

Design study for the Liparus Super-Tanker in “The Spy Who Loved Me”. (GB/F 1977, directed by Lewis Gilbert; image © Ken Adam Archive/Deutsche Kinemathek)

ken adam

Chitty Chitty Bang Bang (GB, US 1968, Ken Hughes) image © Ken Adam Archive/Deutsche Kinemathek)


Funeral in Berlin (1966), Still from the movie Funeral in Berlin Martin-Gropius-Bau and the old Prussian Landtag (Abgeordnetenhaus today).The wall run between them.


Funeral in Berlin (1966)

ken adam

Around the world in 80 days set (1956)

ken adam

The Willard Whyte House for “Diamonds Are Forever”. (GB/USA 1971; image © Ken Adam Archive/Deutsche Kinemathek)

ken adam

Funeral in Berlin (1966), aus vaterland-Here in the British movie ‘Funeral in Berlin’ (1966) the Haus Vaterland (on the right) is on East-Berlin territory. In 1971 it came to the West in exchange.

Picture 21

Addams Family (1973)

ken adam

The Zero Gravity Space for “Moonraker” a. (GB/F 1979; image © Ken Adam Archive/Deutsche Kinemathek)

Goldfinger (GB, US 1964, Guy Hamilton)

Goldfinger sketch (GB, US 1964, Guy Hamilton)

ken adam

Ken Adam


Taking Sides, István Szabó, (2001), Berlin set


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THE KING is BACK with an GREAT VISUAL ORGASM: David LaChapelle & Evening In Space for Daphne Guinness

THE KING is BACK: David LaChapelle & Evening In Space for Daphne Guinness

4It was too long time that we didn’t hear news about the legendary photographer David La Chapelle.

But now he is back with another of his perfect and powerful visual work as videomusic director: EVENING IN SPACE.

Daphne Guinness consolidates her move into music with a theatrical, mesmerising new music video directed by acclaimed image-maker David LaChapelle. Evening in Space was produced by Tony Visconti and is the first single from Guinness’ upcoming debut album, which is billed for release in September 2014. The video features custom fashion by many of Guinness’ favourite houses, including Iris van Herpen and Noritaka Tatehana, alongside pieces from her own celebrated clothing collection. Song Writing and Performance: Daphne Guinness Music Production: Tony Visconti

Evening in Space, featuring Daphne Guinness wearing Dress and Cuffs by Iris van Herpen, Bodysuit by Saint Laurent, Shoes by Noritaka Tatehana, Earrings by Loree Rodkin, and Headpiece by Laurent Philippon. Model wear    s Custom skirt by Jeremy Scott, Vintage boots, and headpiece by Kabuki.

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The LAST DAYS of TACHELES: la poetica dell’impercettibile in un momento sospeso tra memoria e storia. INVITO AL DIBATTITO: “TACHELES: simbolo di una Berlino che non esiste più”

Nel giro di lunghi periodi storici,

insieme coi modi complessivi di esistenza delle collettività umane,

si modificano anche i modi e i generi della loro percezione sensoriale…   

“rendere le cose, spazialmente e umanamente, piú vicine è per le masse attuali un’esigenza vivissima””, Walter Benjamin.


The Last Days of Tacheles - 2Parlare del Tacheles, raccontare la sua storia, cosa ha rappresentato, può sembrare tanto banale quanto scontato, dal momento che tutti, o quasi, ne hanno sentito parlare, ma così facile in realtà non è.

Allora per iniziare a parlarne mi tornano in mente gli illuminanti e profetici concetti di Walter Benjamin nel suo piccolo ma fondamentale scritto “ L’opera d’arte nell’epoca della sua riproducibilità tecnica” (1936), che ha influenzato tutto il novecento, l’analisi e la valutazione della cultura di massa. Un testo ineludibile per ogni fotografo, critico e appassionato di cultura, arte e filosofia, che viene considerato bibbia nelle università.

Benjamin era tra l’altro berlinese, nato a Charlottenburg e se in questi giorni fosse stato vivo avrebbe sicuramente inserito il Tacheles come esempio di studio, quando si interroga  e affronta nel suo saggio la tematica della tendenza alla fluidità sociale dei modelli di consumo culturale, delle opere d’arte, che sotto qualunque forma, si presentano come merci derivanti da un processo di produzione profondamente intriso della dimensione sociale propria della società che le produce.

Nella teoria di Benjamin la soggettività e unicità dell’artista perde il ruolo centrale nel processo di produzione di manufatti estetici. Parallelamente il tessuto culturale diventa più complesso e cresce l’importanza delle modalità tecniche tramite le quali il produttore entra in collegamento con il suo pubblico. I processi di produzione della cultura hanno dunque sempre meno la forma di una fabbrica di epoca industriale. La produzione culturale assomiglia molto di più ad un rumoroso mercato con la sua confusione e per certi aspetti l’esperienza del Tacheles insiste e rimanda a ciò, anche attraverso l’uso delle forme più innovative di arte (come le performance dal vivo) o di materiali innovativi.

Un luogo dove il nuovo contesto sociale, la fruizione dell’opera d’arte sono diventate tanto un’esigenza quanto un’opportunità collettiva. “..rendere le cose, spazialmente e umanamente, piú vicine è per le masse attuali un’esigenza vivissima”,  W.Benjamin

Il Tacheles è stato proprio questo: un’esigenza quanto un’opportunità collettiva.

Il simbolo di quella battaglia che l’arte cerca di portare avanti contro lo sfrenato potere del consumo e del denaro, l’ambiente meno contaminato dalla capitalizzazione, che investe persino il prodotto artistico.

Un luogo in cui nonostante la decadenza della struttura e l’eterogeneità delle opere che essa nel corso degli anni accolse, si è rivelato una parte di mondo dove si è lasciato potere all’ immaginazione, per questo conservando una traccia di bellezza, sempre più progressivamente ferita ed abusata eppure ancora capace di bisbigliare all’uomo la possibilità di opporsi ad una visione del mondo regimentata dall’interesse monetario.

La chiusura del Tacheles, che possa dispiacere o meno, è il sintomo di qualcosa di più ampio e complesso che a Berlino sta avvenendo già da qualche anno e che ha già visto la chiusura di locali e luoghi di ritrovo che nella capitale tedesca hanno fatto cultura, è in ogni modo un momento triste per chi crede che l’arte possa offrire visioni differenti del mondo.

2213143116_2d6e8b53e5_oLa Kunsthaus Tacheles (Casa dell’arte Tacheles) è stata una galleria d’arte moderna berlinese situata in Oranienburger Straße, nel quartiere centrale Mitte. Ricavata dalla demolizione del centro commerciale Friedrichstraßepassage, conosciuto come “la cattedrale del consumo”, fu costruito tra il 1907 e il 1909 e dal 1990, l’edificio è stato fino al 2012 sede di collettivi gestita da artisti.

Nel 1928 la compagnia di strumenti elettronici AEG entrò in possesso dell’edificio e lo utilizzò come “Casa della Tecnologia” per esposizioni e presentazioni commerciali, ma anche cinematografiche. Nel 1936 vi furono trasmessi televisivamente i giochi olimpici, per la prima volta al mondo. Dopo il 1933 i vari spazi dell’edificio cominciarono ad essere utilizzati da varie organizzazioni connesse al nazismo. Con la fondazione della GDR nel 1949 l’edificio fu trasferito in proprietà della trade union FDGB, facente parte della Germania dell’Est. In seguito alla Separazione della Germania e di Berlino, la costruzione rimase vuota salvo che per usi a breve termine, come per l’armata NVA o per la Scuola circense, e comincio ad andare in rovina.

Dopo la caduta del muro nel 1989 a Berlino Est sorse un movimento artistico spontaneo. In particolare nei quartieri centrali Mitte, PrenzlauerBerg e Friedrichshain tale subcultura occupò il vuoto creato dalla scomparsa della GDR. La demolizione finale dell’edificio, prevista per aprile1990, fu evitata grazie all’occupazione promossa dal Gruppo di artisti Tacheles. Grazie al sostegno delle pubbliche istituzioni la sopravvivenza dell’edificio fu poi ulteriormente garantita, e, dopo un’ulteriore ispezione, l’edificio fu considerato parte del Patrimonio monumentale nazionale. Nel 1998 la compagnia di investimenti FUNDUS ha comprato l’edificio sotto la condizione che il Tacheles potesse continuare ad esistere quale luogo storico e culturale. Fu stabilito di conseguenza un affitto simbolico di un marco tedesco al mese. Nel 2000-02 la costruzione fu restaurata, seguendo una procedura architettonica che ha posto in contrasto lo stile decadente delle rovine con elementi contemporanei e tecnologici.

Il Tacheles riceveva in media ogni anno 500.000 visitatori da ogni parte del pianeta. Molti di questi venivano appositamente perché questo insolito nome era citato tra i punti di interesse delle loro guide turistiche, così come si trova il MOMA tra quelli delle guide di New York o il Louvre per Parigi.

1491754_622010054554054_7450445799529749968_nÉ indubbio che ci sono poi stati esperti, registi, giornalisti e persone che vivono a Berlino, o che ci hanno vissuto abbastanza per farsi un parere, che hanno ribadito varie volte che il Tacheles era oramai cambiato negli ultimi anni, diventando molto diverso dal mito che in molti ricordano, una mera attrazione turistica e quindi meritevole di essere disperso. La data ufficiale della chiusura e sgombero è così avvenuta il il 4 settembre del 2012.

Tra questi registi ce ne è anche uno italiano, Stefano Casertano, che vive da tempo a Berlino e che ha proprio voluto approfondire questa vicenda, vivendo a fianco degli artisti prima della chiusura per quasi un anno. Ha prodotto e realizzato così un docu-drama, The last days of Tacheles, come lo definisce lui, in quanto non è un documentario su cosa è stato il Tacheles, o un’inchiesta, ma un racconto cinematografico sugli ultimi giorni di questa galleria, ma soprattutto sulle emozioni che gli artisti hanno vissuto.

Nonostante Casertano abbia un background giornalistico-accademico, che lo avrebbe potuto portare ad avere un occhio critico-analitico sulla vicenda, e raccontarla dal punto di vista sociologico, storico e politico si discosta notevolmente in questo suo lavoro nell’ affrontare la tematica.

Da una più attenta analisi del racconto, invece, ci si accorge chiaramente che l’interesse del regista marcia in un’altra direzione. L’attenzione è volta a scoprire e a comprendere l’atteggiamento interiore, le motivazioni profonde, lo spirito di questa gente, i valori che sottostanno al loro comportamento e alla loro vita., concentrandosi sulla poesia dei gesti e dei volti degli artisti, le loro inquietudini, paure e il contesto dove la loro anima viene prosciugata.

Un linguaggio dove l’uomo è al centro del racconto e tale narrare, mostra così i più piccoli particolari delle espressioni, carica di significati i gesti più consueti e indifferenti, conferisce un valore agli oggetti più comuni e più umili, ricordandoci il rispetto profondo per l’uomo e la sua dignità, soprattutto nella parte finale quando ci mostra lo sgombero e lo strazio di alcuni artisti nei confronti di esso, verso la totale distruzione di un mondo che non esiste più, in cui loro hanno creduto e dedicato speranze e sogni per anni.

Una poetica dell’ impercettibile che si annida nello sguardo sulle cose, in un momento sospeso tra memoria e storia.

Non ritengo che il Tacheles sarà menzionato nei libri di storia dell’arte, in quanto non ha prodotto nessuna opera d’arte significativa o grande artista e sappiamo senza ipocrisie che i luoghi dove l’arte fa business sono ben altrove, rimarrà però sempre nell’immaginario come esperimento di potere dell’immaginazione comune ed evocativo dell’arte.

Certo è però assurdo pensare che in quel luogo dove circa un secolo fa in Oranienburger Straße nacque un “centro del consumo” potrebbe rinascerne un altro , in quanto pare sia stato messo in vendita per una base d’asta di 200 milioni di euro, per essere realizzati in futuro appartamenti di lusso, uffici e negozi.

In fondo aveva ragione W. Benjamin; sosteneva che ““nel giro di lunghi periodi storici, insieme coi modi complessivi di esistenza delle collettività umane, si modificano anche i modi e i generi della loro percezione sensoriale…”, e quello che è successo al Tacheles e sta accadendo alla città sono il simbolo di un processo storico in cui si è modificata la percezione della politica culturale berlinese agli occhi della collettività: la monetizzazione sta forse vincendo a discapito della cultura?

Non esiste più una collettività umana oggi che crede in quella frase che pronunciò il sindaco e senatore della cultura Klaus Wowereit nel 2004, definendo Berlino “povera ma sexy” e ci siamo forse stancati di questa città così alternativa ?

Se la risposta è SI in fondo è facile capirne anche il perchè.

Monica Manganelli

Invito_EventoASCTACHELES: simbolo di una Berlino che non esiste più” promosso dall’ A.S.C. Cinecittà (associazione nazionale scenografi e costumisti) e dal MIBAC (Ministero dei Beni e delle Attività Culturali e del Turismo ).

Proiezione del docu-drama: THE LAST DAYS OF TACHELES del regista e produttore Stefano Casertano, interverranno il regista e Zuleika Munizza, responsabile del progetto di ricerca Berlino Explorer, che racconta Bla città attraverso la sua storia e le sue trasformazioni dal punto di vista architettonico, artistico e sociale.
3 luglio, ore 18 presso la CASA DEL CINEMA, Sala Deluxe

Largo Marcello Mastroianni, 1, 00197 Roma, Italia

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“WE LOVE MAKING MOVIE” is the slogan by Babelsberg Studios.

The passion for the movie, at the same time for Berlin unites me and my friend Francesco.

He organizes an interesting Tour called “CINEMA IN BERLIN” in collaboration with Berlino Explorer: An itinerary to discover some of the thousand places, the protagonists of the films that have made the history of Berlin in the movie production: the anecdotes and history of the German capital are combined with plots of the film, weaving reality with fiction, espionage with the ‘actuality. With the help of pictures and videos you can relive some of the most famous scenes set in the city, lowering himself for a moment in the role of Lola (“Run Lola Run”) or the angel Damiel (“Wings of Desire”) . Because the history of Berlin is also made of celluloid.


Wings of Desire by Wim Wenders by Potsdamer Platz

Francesco’s ITINERARY TOUR :

– Warschauer StraßeOberbaum Brücke, from “RUN LOLA RUN” (1998 by Tom Tykwer) and the action scenes of “BOURNE SUPREMACY (2004)”. Sprinting through the reunited city in the late 1990s, Franka Potente’s Lola swiftly became an international symbol of Germany’s new dynamism. Director Tom Tykwer hurled her pell-mell around Berlin, picking locations from east and west in a thriller that plays out three times, with three different outcomes. The film is very much a what-might-have-been story, with a happy ending, which is perhaps what we want to feel about Berlin itself.

– Alexanderplatz– From the television series “BERLIN Alexanderplatz” by Fassbinder to “GOODBYE LENIN” (2003), the most popular locations in the German capital. A dedicated young German boy pulls off an elaborate scheme to keep his mother in good health in this comedy drama from director Wolfgang Becker. Suffering a heart attack and falling into a coma after seeing her son arrested during a protest, Alex’s (Daniel Brühl) socialistmother, Christiane (Katrin Sass), remains comatose through the fall of the Berlin wall and the German Democratic Republic.

-Hauptbahnhof and the Bundestag – From science fiction movie AEON FLUX (2005) and EQUILIBRIUM (2002) wonderful unexpected set location.. Most of the filming used locations in Berlin, due to its unique mixture of fascist and modern architecture. In a Fascist future where all forms of feeling are illegal, a man (Christian Bale) in charge of enforcing the law rises to overthrow the system.

Berlin-equilibrium set

The Hall of Enforcement in Equilibrium, represented by the Bundestag (Berlin U-Bahn) subway station under the Reichstag building.

– Potsdamer Platz – The square of the angels of “WINGS OF ANGELS” by Wim Wenders. (1987), when he turned the square was still a wasteland. Arguably the finest film about the divided city was made by Wim Wenders in 1987 – a fable about angels floating over a traumatised Berlin, listening to its inhabitants’ thoughts, and attempting, in different ways, to heal their pain. Two years after the fall of the Berlin Wall, Potsdamer Platz will become the largest building area of Europe; the result of reconstruction is the current, modern place you can see today.

ChristianeF    – Zoologischer Garten from the movie CHRISTIANE F, by Uli Edel (1981). Christiane F. – We Children from Bahnhof Zoo” in English) is a 1981 German film based on the autobiographical recordings of a young heroin addict and prostitute in West Berlin. It was one of the most successful German films of that year, going on to become a worldwide cult hit, but one that stirred up a lot of (I think justifiable) controversy. In the late 70s and early 80s, West Berlin’s reputation for radicalism and experimentation made it a mecca for youth at the time: but there was a dark side, encapsulated in this notorious film about a drug-addicted prostitute.Bahnhof Zoo was West Berlin’s biggest rail station at the time, and the film-makers also shot extensively in Christiane’s home district of Gropiusstadt, the southern suburb designed by the Bauhaus founder.


For contact:

Francesco Somigli address:


Berlin was once Germany’s Hollywood, the capital of German cinema, home to the nation’s biggest movie company, the UFA, and stars such as Marlene Dietrich. The golden age of German and Berlin cinema was the interwar period, although following 1933 the Nazis gained a stranglehold over the industry and converted it in steps to a propaganda instrument. The Second World War pretty much killed off Berlin’s film industry. The UFA fled to western Germany, and its interests in the GDR were taken over by the state-owned DEFA, which continued to operate out of the Babelsberg Studios – albeit with little international success.

Following Berlin’s reunification, the multiplexes came to town: purpose-built, multiscreen movie theaters sprung up in all the major centers. They filled a huge gap in the market, especially on the eastern side of the city, bringing mainstream cinema to more Berliners than ever before, especially those along the Ku’damm were unable to compete and the turn of the century saw the great “Kinosterben” (film theatre die-off). Now the market is mainly divided up between the big multiplexes and smaller local / art-house cinemas. Nevertheless there’s a huge choice of venues, and something for every taste.

In the last years in Berlin has become In recent years Berlin has become a central point for foreign productions. (THE PIANIST, VALKIRIE, CLOUD ATLAS, V for VENDETTA). Just in the 2013 for the first time in Studio Babelsberg’s history, the studio celebrates three international film premieres at the Berlin International Film Festival (Berlinale). Besides the premieres of Wes Anderson’s THE GRAND BUDAPEST HOTEL and George Clooney’s THE MONUMENTS MEN, today the Berlinale officially announced the screening of BEAUTY AND THE BEAST directed by Christophe Gans. Vincent Cassel and the French up and coming star Léa Seydoux are featured in the main roles in the high budget remake of the fairy tale classic, shot entirely at Babelsberg studios.



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Those who dream can move mountains.

But the question that everyone wanted answered was whether I would have the nerve and the strength to start the whole process from scratch. I said yes; otherwise I would be someone who had no dream left, and without dreams I would not want to live.”

(B. S. Fitzgerald – FITZCARRALDO)BkD2_PBCAAA_2vb.jpg large

Do you remember the mythic movie by Herzog Fitzcarraldo with Klaus Kinsky in the role of an intense businessman and adventurer?, full of dreams, whose spirit is perfectly expressed by an epic sentence of the film: “Those who dream can move mountains”. Fitzcarraldo acts as an icon of the last true dreamers, artists, at the beginning of the 1900s that have put primary emphasis on the realization of their dreams.

In the beginning of this century another adventurer wanted to make his crazy dream!

How you can find a movie theatre into an incredible place: Estonian photographer, Kaupo Kikkas, discovered an abandoned outdoor cinema movie theatre deep in the Sinai desert, apparently, built it in the early 2000s.


An eccentric french berber artist, sometimes actor, when he was traveling in the desert and decided he needed to watch David Lynch’s Dune.

Then the Frenchman Diynn Eadel, who thought it was a brilliant location for a cinema. In Cairo, Eadel bought 150 wooden chairs and a projector from an old theatre. He hauled in a generator for electricity and a tractor to pull up a giant screen.

Who knows why he decided to abandon it and if he ever accomplished the screening.

Unfortunately, the local authority weren’t to thrilled about Eadel’s idea. On the night of the premiere, everything went wrong. The generator mysteriously failed to work. To this day, not a single film has been screened at this “End of the World Cinema.”

Photos and information about this place, other than Kaupo’s, is strangely hard to find. It basically doesn’t exist on the internet. After Kikkas’s discover this year, Mr Eadel preferred the silence.

How does a place like that remain such a well-kept secret? Is someone trying to keep it a secret? Is it even real?! Fortunately it is, and here is the original flyer for the Frenchman’s cinema which was called “La Tête dans Les Etoies”, (head in the stars) and other vintage pictures on twitter.



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“Aging isn’t an illness, but a way of life”: Christopher Lee and Roger MCGough for Age UK’s new ad campaign.

ADV Great actor Christoper Lee narrates a poem by  acclaimed poet Roger McGough for AGE UK’s new ad campaign. (17 march 2014)
The TV and cinema campaign, created by Karmarama, aims to show the aging process in a dignified, positive light and sees the launch of a new tagline for charity: “LOVE LATER LIFE”.
McGough’s poem, written specially for the campaign, asserts that “aging isn’t an illness, but a way of life”.


“There is no cure for aging, because aging isn’t an illness, but a way of life. And some are better at it than others. The secret? Think yourself younger than you really are. Design a website, invent an app, take up Zumba, forget to nap. Time flies, they say. But it’s us that fly. Time sits on its hands as we rush by. In the blink of an eye, the brush of a tear, you are old, but valued still. Welcome to the fold.  “

The ad ends with message: “Age UK is here to help with the challenges we face later in life”.

Roger McGough is one of Britain’s best-loved poets and also performance poet, broadcaster, children’s author and playwright.  McGough was responsible for much of the humorous dialogue in The Beatles’ animated film, Yellow Submarine, although he did not receive an on-screen credit. At about the same time a selection of his poems was published, along with work from Adrian Henri and Brian Patten, in a best-selling paperback volume of verse entitled The Mersey Sound, first published in 1967, revised in 1983 and again in 2007.

Also in this case a wonderful and emotionally new poem for a touching campaign created by Karmarama and directed by Nadav Kander.

TV Producer: Emma Johnston
Executive Creative Director: Sam Walker, Joe de Souza
Copywriter: Joe De Souza, Jeremy Willy
Art Director: Sam Walker, Wayne Hanson
Advertising Agency: Karmarama

TV Producer: Emma Johnston

Executive Creative Director: Sam Walker, Joe de Souza

Copywriter: Joe De Souza, Jeremy Willy

Art Director: Sam Walker, Wayne Hanson

Advertising Agency: Karmarama

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GreaLegendary actor Christopher Lee narrates a poem by acclaimed poet Roger McGough for Age UK’s new ad campaign. – See more at: