Issuu is a digital publishing platform that makes it simple to publish magazines, catalogs, newspapers, books, and more online. Easily share your publications and get. Maleficent è un film del 2014 diretto da Robert Stromberg, al debutto da regista. La protagonista Angelina Jolie, qui anche produttrice esecutiva della pellicola.

Juno (film) - Wikipedia. This article is about the film. For other uses, see Juno. Juno is a 2. 00. 7 American coming of agecomedy- drama independent film directed by Jason Reitman and written by Diablo Cody.

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Ellen Page stars as the title character, an independent- minded teenager confronting an unplanned pregnancy and the subsequent events that put pressures of adult life onto her. Michael Cera, Jennifer Garner, Jason Bateman, Allison Janney and J. K. Simmons also star. Filming spanned from early February to March 2. Vancouver, British Columbia. It premiered on September 8 at the 2. Toronto International Film Festival, receiving a standing ovation.

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Juno won the Academy Award for Best Original Screenplay and earned three other Oscar nominations, including Best Picture and Best Actress for Page. The film's soundtrack, featuring several songs performed by Kimya Dawson in various guises, was the first chart- topping soundtrack since Dreamgirls and 2. Century Fox's first number one soundtrack since Titanic. Juno earned back its initial budget of $6. It went on to earn $2. Juno received acclaim from critics, many of whom placed the film on their top ten lists for the year. It has received criticism and praise from members of both the pro- life and pro- choice communities regarding its treatment of abortion.

Plot. Sixteen- year- old Minnesota high- schooler Juno Mac. Guff (Ellen Page) discovers she is pregnant by her friend and longtime admirer, Paulie Bleeker (Michael Cera). She initially considers an abortion. Going to a local clinic run by a women's group, she encounters a schoolmate outside who is holding a one- person protest for pro- life vigil.

Once inside, however, a variety of factors lead Juno to leave. She decides against abortion, and she decides to give the baby up for adoption. With the help of her friend Leah (Olivia Thirlby), Juno searches the ads in the Pennysaver and finds a couple she feels will provide a suitable home.

She tells her father, Mac (J. K. Simmons), and stepmother, Bren (Allison Janney), who offer their support.

With Mac, Juno meets the couple, Mark and Vanessa Loring (Jason Bateman and Jennifer Garner), in their expensive home and agrees to a closed adoption. Juno visits Mark a few times, with whom she shares tastes in punk rock and horror films. Mark, who has set aside his rock band youth (now confined to memorabilia displayed in the one room of the house that Vanessa has designated for Mark's personal belongings), works at home composing commercial jingles. Juno and Leah happen to see Vanessa in a shopping mall being completely at ease with a child, and Juno encourages Vanessa to talk to her baby in the womb, where it kicks for her. As the pregnancy progresses, Juno struggles with the emotions she feels for the baby's father, Paulie, who is clearly in love with Juno. Juno maintains an outwardly indifferent attitude toward Paulie, but when she learns he has asked another girl to the upcoming prom, she angrily confronts him. Paulie reminds Juno that it is at her request they remain distant and tells her that she broke his heart.

Not long before her baby is due, Juno is again visiting Mark when their interaction becomes emotional. Mark then tells her he will be leaving Vanessa to figure his life out. Juno is horrified by this revelation, with Mark asking Juno " How do you think of me? Mark is starting to develop feelings for Juno. Vanessa arrives home, and Mark tells her he does not feel ready to be a father and there are still things he wants to do first. Juno watches the Loring marriage fall apart, then drives away and breaks down in tears by the side of the road. Returning to the Lorings' home, she leaves a note and disappears as they answer the door.

After a heartfelt discussion with her father, Juno accepts that she loves Paulie. Juno then tells Paulie she loves him, and Paulie's actions make it clear her feelings are very much reciprocated. Not long after, Juno goes into labor and is rushed to the hospital, where she gives birth to a baby boy. She had deliberately not told Paulie because of his track meet. Seeing her missing from the stands, Paulie rushes to the hospital, finds Juno has given birth to their son, and comforts Juno as she cries.

Vanessa comes to the hospital where she joyfully claims the newborn boy as a single adoptive mother. On the wall in the baby's new nursery, Vanessa has framed Juno's note, which reads: " Vanessa: If you're still in, I'm still in. — Juno. The film ends in the summertime with Juno and Paulie playing guitar and singing together, followed by a kiss. Cast. Themes"You can look at it as a film that celebrates life and celebrates childbirth, or you can look at it as a film about a liberated young girl who makes a choice to continue being liberated. Or you can look at it as some kind of twisted love story, you know, a meditation on maturity."—Diablo Cody.

Along with Knocked Up and Waitress, two other 2. Juno was interpreted by some critics as having a pro- life theme. Ann Hulbert of Slate magazine believed that Juno "[undercut] both pro- life and pro- choice purism."[6] Jeff Dawson of The Sunday Times believed that the film was inevitably placed in the "unwanted pregnancy subgenre" with Knocked Up and Waitress due to its subject matter but thought that its interpretation as a pro- life film only "muddied the waters".[7]Hadley Freeman of The Guardian criticized Juno for "complet[ing] a hat- trick of American comedies in the past 1.

I don't believe any of these films is consciously designed to be anti- abortion propaganda."[8]A. O. Scott, writing for The New York Times, agreed that Juno has "an underlying theme, a message that is not anti- abortion but rather pro- adulthood."[9] Ellen Page commented, "What I get most frustrated at is when people call it a pro- life movie, which is just absurd..

The most important thing is the choice is there, and the film completely demonstrates that."[1. Cody and Page have openly stated that they are pro- choice; [1. Reitman thought that it was "fantastic" that pro- life and pro- choice groups were embracing the film.[1.

He said that "Juno seems to be a mirror, and people [on both sides] see themselves in it."[1. Other critics labeled Juno as feminist because of its portrayal of Juno as a confident and intelligent teenage girl.

Antifeminist. Phyllis Schlafly wrote that Juno's theme "isn't love, romance, or respect for life, but the triumph of feminist ideology, i. Wesley Morris of The Boston Globe concluded "Juno serves cool, intelligent girls something they rarely see in a movie: themselves."[1. Cody said about writing the film, "Women are clever, women are funny, women are sharp, and I wanted to show that these girls were human and not the stereotypical teenage girls that we often see in the media"[1. There was a lack of authentic teen girl characters .. I saw writing this screenplay as an opportunity to create an iconic female."[2] Page praised the film for its positive depiction of teenage girls, describing Juno's character as "really refreshing and allow[ing] for new possibilities in what young women can be"[1. Girls haven't had that sort of character before.

We don't have our Catcher in the Rye."[2] She criticized the media perception of her character as a "strong woman", arguing that if Juno were a male character, the "strength" of the character would not be considered remarkable.[1. Reitman was interested in the personal/political conflict for Vanessa's character: "Feminism has paved the way for Vanessa’s career, but ultimately Vanessa wants to be a full time mother."[1. Production. Development. Diablo Cody wrote the film based on many of her own high school experiences. Diablo Cody was first approached to write a screenplay by film producer.

Mason Novick, who had previously landed her a book deal for her memoir, Candy Girl: A Year in the Life of an Unlikely Stripper, after discovering her blog about stripping.[2.

Josh Becker: Q & AName:             Nikolay Yeriomin. E- mail:            nikolayyeriomin@gmail. Date. 6/5/1. 6Dear Josh : Loved previous q& a's with Keith and Tim because it is quite an interesting "food for thoughts". If it is okay, I have a few comments and questions regarding what they were writing, so this message may be a little bit long (I hope that it may be separated if that will be more comfortable for you and/or webmasters). Firstly, regarding Alfred Hitchcock (by the way, my all- time favorite director) - it should be noted that "Hitchock/Truffault", even though it is one of the greatest books on Hitchcock and movie- making in general is quite flawed by one thing in nearly any translation, that thing being the fact that all of the Hitchcock statements were translated in French and then book was again translated in English from that translation, so at times what Hitchcock actually said was somewhat paraphrased and may have affected the sense of a few statements. Secondly, a little thought on Hitchcock's movies - last summer I've discovered that I've actually haven't seen that much of his directorial works, mainly because in cases of one of the favorite directors dying or working rarely I usually postpone some movies in advance, just to have a few if I'll have some specific mood. In case of Hitchcock, though, I understood it was quite pointless, because if counting his TV episodes and some other things he has quite a big filmography.

So, I've started a tradition of sorts that I hope to continue this year - to pick five Hitchcock directorial works (from each decade of his career excluding the 7. I've seen everything) mostly at random and watch them on and around his birthday. What I've picked in 2. The Pleasure Garden", "Jamaica Inn", "Spellbound", "The Trouble with Harry" and an episode of "Startime" named "Incident at a Corner".

I can highly recommend each one of them (though "Spellbound" is probably the better one of them), but "Incident at a Corner" is especially recommended because it is mostly overlooked and forgotten, despite this little gem is actually pretty impressive. Thirdly, while I can understand your and Tim's concern of culture being "rotted", I have some optimism for it and I just believe that we're living in a period of quite a big shift and it's hard to judge the society which is in a constant stress and undergoes a process of certain social and cultural mutations. I'm quite concerned about culture as well because, well - mainstream culture seems less and less appealing to me.

Especially since younger people (of which I am, to some unfortunate extent) seem less and less tolerant to more individual and "unconventional" tastes and will try to force you to watch what they like, massively overreacting if you dislike their choice, forgetting that anyone has right to choose what he or she wants to watch. I'm quite tired of people shaming me for my dislike of "Game of Thrones" and "The Walking Dead" - while both series are very popular and acclaimed I just can't find anything of strong interest in both of them (not to mention that people fail to notice how much "Game of Thrones" is derivative to works of William Shakespeare) so I don't have a point to watch them. But I hope that such "Age of Overreacting" will eventually pass and we'll have some kind of renaissance. I don't lose that hope because, well, even my dorm roommate (1.

I'm of the same age gap and yet I can easily watch anything regardless of time period) loved "Lawrence of Arabia" and is amazed by Buster Keaton stunts (despite him being a parkour practitioner he just can't understand how some of them were executed) and another one of the same age is reading a lot and tries quite thoughtfully to compare and balance mainstream, independent and classic art. One of my best friends who is essentially of my age disliked "The Hateful Eight", by the way and while I was okay with that movie I can totally see why and approve both his and yours concerns about it. Fourthly as you've asked for someone to pick ten greatest movies and albums of the past ten years (that should be the period of 2. I guess?) I might as well try to name at least movies. But I should warn you that I'm casually watching some movies two or three years after the initial release, so I'm quite surely missed at least a few great titles. I'm also subjective, of course and will try to balance those movies which both I've found great and at least some significant amount of people enjoyed a lot as well, trying hard to limit it for one- two movies per year. My picks are (in chronological order): 1."Shaun of the Dead" (2.

Dir. Edgar Wright (UK); 2."Takeshis'" (2. Dir. Takeshi Kitano (Japan); 3."A Scanner Darkly" (2. Dir. Richard Linklater (USA); 4."Reign Over Me" (2. Dir. Mike Binder (USA); 5."Serce na dloni" (2. US as "And a Warm Heart" though the translation is "Heart in the Hand") Dir.

Krzysztof Zanussi (Poland); 6."Drive" (2. Dir. Nicolas Winding Refn (USA); 7."Fire. Crosser" (Toy. Khto. Proyshov. Kriz. Vohon) (2. Dir. Mykhailo Illienko (Ukraine); 8."L'écume des jours" (2. US as "Mood Indigo", though the translation is "The Foam of Days") Dir. Michel Gondry (France); 9."The Guest" (2.

Dir. Adam Wingard (USA); 1. Mad Max: Fury Road" (2.

Dir. George Miller, (Australia and USA). The problem is - great rarely equals life- changing personal favorites - if you'd asked to put a list of ten personal favorites a fewer of those will move from one list to another. Yours sincerely,Nikolay Yeriomin.