Film La Fa

Bernardo is in love with Adela and although she does not belong, he has always helped her family although they only care about money and not the virtues of man.

In the process of cooking, a man cuts himself. A lot.

An otherwise perfect family find themselves in an abnormal situation.

Seven cousins meet for a last holiday in their childhood house.

Antonella is an architect who cannot forget her husband Riki, a famous surgeon who suddenly died. Her life, and her daughter Virginia's are affected by a fortuitous event, which leads Antonella to the conviction that she'll be able to meet her husband again.

It's summertime and a troop of young girls are headed to scout camp.

Rosalie is a maid for a wealthy family and receives a letter that her cousin is coming to visit. She assumes that a burglar is her cousin and the mix-up and chaos begins.

This lengthy domestic exclusive explores the filmmakers' adaptation of the original novel, changes made to the cinematic version, casting, the production itself, and director Guillaume Canet's efforts and work. It's a candid, well-conceived documentary that kept me entertained and engaged throughout. Harlan Coben, the author of Tell No One, talks about the film adaptation and how actor-director Guillaume Canet approached it. Later on, the director also shares his thoughts on the film while we see plenty of raw footage from the shooting process. Also, there is footage from Studio Labo M2 where the film's soundtrack was recorded. Finally, there are plenty of scattered comments from the cast addressing the film production.

This live recording was made at the Royal Albert Hall during one of Londons famous Promenade Concert seasons. Sir Georg Solti conducts the Chicago Symphony Orchestra and Chorus in a magnificent performance of Berliozs concert cantata. This feast of Berlioz launched Soltis farewell tour with the orchestra he had directed for twenty years and was described by The Times as the unsurpassable culmination of two decades of music-making...one that summarised all that has been most admirable about Soltis long reign in Chicago. Like reading the book by flashes of lightning was how one writer described the relationship of Berlioz to Goethe in this Dramatic Legend, his way of shaping twenty scenes selected from the story into a narrative in four parts. Though it has sometimes been staged, the works drama is to be found within the music itself, which illuminates the incidents with what the conductor Sir Thomas Beecham once called a bunch of the loveliest tunes in existence.

Tormented by pain, grievous memories and old age in a merciless solitude, the cantankerous and sullen Fausto, who goes leaving traces of bitterness behind himself, understands that never changes the final destination: return eventually to the nothingness from which we came.

Ophelie is a successful star chef, but she cannot find love. When Joelle, a young florist, comes to deliver flowers for Ophelie's new menue launching party, it is love at first sight. However, Arian, Joelle's suitor, does not intend to let this love blossom.

After getting lost in a desert place, Julio must correctly answer 3 questions from The Death if he wants to stay alive.

The three main soloists have voices on a scale that can compete with these flashy production values – White and Kasarova, in particular, sing at a level of intensity that would swamp anything less; the climactic seduction trio has rarely been sung so well or with such an overpoweringly polymorphous eroticism. Cambreling marshals his forces effectively, giving full rein to the work's showstoppers like the "Hungarian March" but not neglecting the subtler less kinetic Gluckian side of Berlioz's vocal writing. Recorded live at the Salzburger Festspiele, 1999.

Performed at the royal Opera House