Sentences with phrase «come una»

Come una falena alla fiamma / Like a Moth to a Flame.

Come una falena alla fiamma (Like a Moth to a Flame) is the title of the great exhibition project realised together by OGR Torino and Fondazione Sandretto Re Rebaudengo, which opens next 3 November at the premises of the two cultural institutes of Turin.

Come una falena alla fiamma is an ambitious project, signed by three outstanding international curators, for the first time called to work together and interact with Turin and its important artistic heritage: Tom Eccles, director of the Center for Curatorial Studies at the Bard College of New York, Mark Rappolt, chief editor of the British magazine Art Review, and the artist Liam Gillick.

Not exact matches

As the afternoon passed, Una - Unso militiamen and others who had come with pickaxes and shovels began to dig up the cobblestones.

«You singing #LetsomebodyLoveYou without telling me when you know its my song isn't going down without the world knowing what you and you manager efe been doing... am coming for una, don't get it twisted»

While trolling through the Kaye report, which lists in exhaustive detail the Oct. 31, 2009 domestic violence incident between David Johnson and his ex, Sherr - una Booker, and the State Police / NYPD response that night, you'll come across the following information on P. 22:

Abeg; make una no worry too much for now, we will come to our senses after four years of proper enjoyments.

My favorite new films seen in Argentina, mostly at Pantalla Pinamar, Buenos Aires International Film Festival and Mar del Plata International Film Festival Toni Erdmann (Maren Ade, 2016) Elle (Paul Verhoeven, 2016) El invierno (The Winter, Emiliano Torres, 2016) Bacalaureat (Graduation, Cristian Mungiu, 2016) Sing Street (John Carney, 2016) The Carer (János Edelényi, 2016) Ucitelka (The Teacher, Jan Hrebejk, 2016) Jamais de la vie (The Night Watchman, Pierre Jolivet, 2016) I, Daniel Blake (Ken Loach, 2016) Personal Shopper (Olivier Assayas, 2016) Umi yori mo Mada Fukaku (After the Storm, Koreeda Hirokazu, 2016) Busanhaeng (Train to Busan, Yeon Sang - ho, 2016) L'avenir (Things to Come, Mia Hansen - Løve, 2016) Wajib (Annemarie Jacir, 2017) Chaco (Danièle Incalcaterra & Fausta Quattrini, 2017) Una mujer fantástica (A Fantastic Woman, Sebastián Lelio, 2017) La familia (Gustavo Rondón, 2017) Last Flag Flying (Richard Linklater, 2017) Lucky (John Carroll Lynch, 2017) Taeksi Woonjunsa (A Taxi Driver, Jang Hun, 2017) Good Time (Benny Safdie & Josh Safdie, 2017)

SPECIAL PRESENTATIONS «The Age of Shadows» («Miljeong»), Kim Jee woon, South Korea (North American Premiere) «All I See Is You,» Marc Forster, Thailand (World Premiere) «American Honey,» Andrea Arnold, USA (North American Premiere) «American Pastoral,» Ewan McGregor, USA (World Premiere) «Asura: The City of Madness,» Kim Sung - soo, South Korea (World Premiere) «Barakah Meets Barakah» («Barakah yoqabil Barakah»), Mahmoud Sabbagh, Saudi Arabia (North American Premiere) «Barry,» Vikram Gandhi, USA (World Premiere) «Birth of the Dragon,» George Nolfi, USA / China / Canada (World Premiere) «The Birth of a Nation,» Nate Parker, USA (International Premiere) «Bleed for This,» Ben Younger, USA (Canadian Premiere) «Blue Jay,» Alex Lehmann USA (World Premiere) «Brimstone,» Martin Koolhoven, Netherlands / Germany / France / Belgium / Sweden / United Kingdom (North American Premiere) «BrOTHERHOOD,» Noel Clarke, United Kingdom (International Premiere) «Carrie Pilby,» Susan Johnson, USA (World Premiere) «Catfight,» Onur Tukel, USA (World Premiere) «City of Tiny Lights,» Pete Travis, United Kingdom (World Premiere) «The Commune» («Kollektivet») Thomas Vinterberg, Denmark / Sweden / Netherlands (North American Premiere) «Daguerrotype» («Le Secret de la chambre noire»), Kiyoshi Kurosawa, France / Japan / Belgium (World Premiere) «A Death in the Gunj,» Konkona Sensharma, India (World Premiere) «Denial,» Mick Jackson, USA / United Kingdom (World Premiere) «Elle,» Paul Verhoeven, France (North American Premiere) «Foreign Body» («Jassad Gharib, Corps Etranger») Raja Amari, Tunisia / France (World Premiere) «Frantz,» François Ozon, France / Germany (Canadian Premiere) «The Handmaiden» («Agassi»), Park Chan - wook, South Korea (World Premiere) «Harmonium» («Fuchi ni tatsu»), Kôji Fukada, Japan / France (North American Premiere) «I Am Not Madame Bovary,» Feng Xiaogang, China (World Premiere) «The Journey,» Nick Hamm, United Kingdom (North American Premiere) «King of the Dancehall,» Nick Cannon, USA / Jamaica (World Premiere) «La La Land,» Damien Chazelle, USA (Canadian Premiere) «The Limehouse Golem,» Juan Carlos Medina, United Kingdom (World Premiere) «Manchester by the Sea,» Kenneth Lonergan, USA (Canadian Premiere) «Mascots,» Christopher Guest, USA (World Premiere) «Maudie,» Aisling Walsh, Canada / Ireland (Canadian Premiere) «Neruda,» Pablo Larraín, Chile / Argentina / Spain / France (World Premiere) «Nocturnal Animals,» Tom Ford, USA / United Kingdom (North American Premiere) «The Oath,» Baltasar Kormákur, Iceland (World Premiere) «Orphan» («Orpheline») Arnaud des Pallières, France (World Premiere) «Paris Can Wait,» Eleanor Coppola, USA (World Premiere) «Paterson,» Jim Jarmusch, USA (North American Premiere) «The Salesman,» Asghar Farhadi (North American Premiere) «Salt and Fire,» Werner Herzog, Germany / USA / France / Mexico (North American Premiere) «Sing,» Garth Jennings, USA / France (World Premiere) «Souvenir,» Bavo Defurne, Belgium / Luxembourg / France (North American Premiere) «Things to Come» («L'Avenir»), Mia Hansen - Løve, France / Germany (Canadian Premiere) «Toni Erdmann,» Maren Ade, Germany (Canadian Premiere) «Trespass Against Us,» Adam Smith, United Kingdom (World Premiere) «Una,» Benedict Andrews, United Kingdom (Canadian Premiere) «Unless,» Alan Gilsenan, Canada / Ireland (World Premiere) «The Wasted Times» («Luo Man Di Ke Xiao Wang Shi»), Cheng Er, China

Oddly, it surprised the makers of Una Noche that two of the film's stars would use the chance to come to the United States for the Tribeca Film Festival as an opportunity to defect from Cuba.

Special mention goes to Garn (Yarn, Una Lorenzen, Heather Millard & Þórður Bragi Jónsson, 2016)-- a film that I have very personal reasons to love for its subject and its yarnbombing attitude And as 2016 was largely marked by the (second) coming of VR, my nomination for the best use of VR goes to Notes on Blindness: Into Darkness (project creators Arnaud Colinart, Amaury Laburthe, Peter Middleton & James Spinney)

2016) Happy End (Michael Haneke, 2017) God's Own Country (Francis Lee, 2017) Las Hijas de Abril (April's Daughter, Michel Franco, 2017) Hitsuji No Ki (The Scythian Lamb, Yoshida Daihachi, 2017) Hounds of Love (Ben Young, 2016) Insyriated (In Syria, Philippe Van Leeuw, 2017) Jackie (Pablo Larrain, 2016) Jae - hoe (Old Love, Park Ki - yong, 2017) Jia Nian Hua (Angels Wear White, Angela Qu, 2017) Koca Dünya (Big, Big World, Reha Erdem, 2016) Kong shan yi ke (Ghost in the Mountain, Yang Heng, 2016) Kor (Ember, Zeki Demirkubuz, 2016) Lady Macbeth (William Oldroyd, 2016) Marlina Si Pembunuh dalam Empat Babak (Marlina the Murderer in Four Acts, Mouly Surya, 2017) El mar nos mira de lejos (The Sea Stares at us from afar, Manuel Muñoz Rivas, 2017) Marjorie Prime (Michael Almereyda, 2017) Ma» Rosa (Brillante Mendoza, 2016) Ming yue ji shi you (Our Time Will Come, Ann Hui, 2017) Moonlight (Barry Jenkins, 2016) Mrs K (Ho Yuhang, 2017) Una mujer fantástica (A Fantastic Woman, Sebastián Lelio, 2017) Nelyubov (Loveless, Andrey Zvyagintsev.

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BKL: You obviously grew up with a strong sense of place, and that comes through in your work — particularly in a Movie in My Pillow / Una película en mi almohada.

Her owner is usually very excited when she comes when called, so Una was quite confused by this aggression.

2013 Wipala / Annicā, Surveying: William Cordova & Glexis Novoa, Bridge Red Studios, North Miami, FL Perder la forma humana, Una imagen sísmica de los anos ochenta en America Latina, Curated by Red Conseptualismos del Sur at Museo de Arte de Lima, Lima, Peru Curadores come home II, Curated by Rachel Weis & Sandra Ceballos, Espacio Aglutinador, Havana, Cuba Antonia Eiriz: A Painter and Her Audience, MDC Museum & Galleries of Art + Design, Miami, FL Faux Life, Richard Heller Gallery, Santa Monica, CA El Canto del Cisne, Instituto Cervantes in Berlin present the documentary El canto del Cisne (Swan song) produced and directed by Glexis Novoa; Kino Babylon, Berlin Mentes peligrosas, Espacio Aglutinador, Havana, Cuba Empire, Curated by Natika Soward, FiveMyles, Brooklyn, NY Politics: I do not like it, but it likes me, Curated by Agnieszka Kulazinska and Dermis León, Center for Contemporary Art Laznia, Gdansk, Poland Aesthetics & Values 2013, Patricia & Phillip Frost Art Museum, Miami, FL

Printed in the pages of Flash Art in November 1967, Celant's «Arte povera: Appunti per una guerriglia» (Arte Povera: Notes for a Guerrilla War) is considered by many to be a manifesto (albeit an ersatz one, in the sense that it was not written by the participants themselves) for a loose association that came to include such artists as Giovanni Anselmo, Alighiero Boetti, Pier Paolo Calzolari, Luciano Fabro, Jannis Kounellis, Mario Merz, Marisa Merz, Giulio Paolini, Pino Pascali, Giuseppe Penone, Michelangelo Pistoletto, and Gilberto Zorio.

The exhibition comprise one of the artists key sculptural installation works, Il panorama verso oltremare intorno dove le stelle si avvicinano di una spanna in più (The Panorama Towards «Oltremare» Where the Stars are Coming One Span Nearer).