Antonia 39;s Line

[Kum Dana]

Antonias Line (Original title: Antonia) is a 1995 Dutch feminist film written and directed by Marleen Gorris. The film, described as a "feminist fairy tale",[3][4][5] tells the story of the independent Antonia (Willeke van Ammelrooy) who, after returning to the anonymous Dutch village of her birth, establishes and nurtures a close-knit matriarchal community. The film covers a breadth of topics, with themes ranging from death and religion to sex, intimacy, lesbianism,[6] friendship and love.

Antonia's Line was made after challenges in finding locations and funding in the 1980s and 1990s. It enjoyed critical success and several awards, including winning the Academy Award for Best Foreign Language Film at the 68th Academy Awards.

Following World War II, the widow Antonia and her daughter Danielle arrive at Antonia's home town where her mother is dying. She reunites with her old friend Crooked Finger, a depressed intellectual who refuses to leave his house. She also begins attracting a following, including Deedee, a mentally handicapped girl, after she is raped by her brother Pitte, and Loony Lips, a simple-minded man who falls in love with Deedee. A pariah, Pitte flees the village. Antonia turns down an offer of marriage from Farmer Bas, but develops a lasting romance with him.

Danielle, who has a vivid imagination, becomes an artist and expresses interest in raising a child, while rejecting the idea of having a husband. Antonia and Danielle visit the city to find a man to impregnate Danielle, resulting in the birth of Therse, a child prodigy. Danielle falls in love with Therse's tutor, Lara, and they remain together in a lesbian relationship. Therse develops an understanding and kinship with Crooked Finger beyond what Danielle could be capable of.

Years later, Pitte returns to town to collect his inheritance and rapes Therse. Antonia places a curse on him, after which he is beaten by men of the village and drowned by his brother. Therse is unable to find her intellectual match but eventually has a relationship with a childhood friend, resulting in her pregnancy. She decides to keep the baby and gives birth to Sarah, the film's narrator, who has a fascination with death. Sarah observes many of her elders die off, including Crooked Finger who commits suicide, and Loony Lips who suffers a tractor accident on the farm. Antonia later dies of old age, surrounded by family and friends.

Director and screenwriter Marleen Gorris envisioned the story as distinct from her previous work, such as A Question of Silence (1982), which she referred to as "indictments against society". She referred to Antonia as "a celebration of life", incorporating fairy tale elements and cruel details.[7] Gorris finished the screenplay in 1988. However, making the film took three attempts, with challenges stemming from putting together a large cast and finding a village that could be portrayed as realistic for a 50-year period. It was eventually filmed in Belgium.[8]

Another major challenge was finding investors.[9] Funding ultimately came from the Netherlands, Belgium and the UK.[8] With the help of producer Hans de Weers, Gorris found investors and also worked with British producer Judy Counihan of Red Hot Organization.[9] The budget was 1.5 million.[1] Filming finished in November 1994.[10]

According to Dutch director Mike van Diem, the film received more positive reviews in the United States than in its native Netherlands, saying "We thought it was a good film, but nobody thought it was that good".[13] Dutch writer Hans Kroon suggested the U.S. reception was out of a need for escapism.[14] On Rotten Tomatoes, the film has an approval rating of 67%, based on 51 reviews, and an average rating of 6.9/10. The website's critical consensus states: "Magical and morbid, Antonia picturesque landscapes and proficient performances elevate a somewhat pedestrian parable".[15]

Roger Ebert gave the film four stars, saying the film showed "the everyday realities of rural life, a cheerful feminism, a lot of easygoing sex and a gallery of unforgettable characters".[16] Emanuel Levy, writing for The Advocate, wrote "It's easy to see why" the film was winning awards in festivals, calling it "an enchanting fairy tale that maintains a consistently warm, lighthearted feel", and Willeke van Ammelrooy wonderful.[17] Janet Maslin of The New York Times called it "a work of magical feminism".[18] Alan A. Stone of the Boston Review called it an "astonishingly beautiful film" representing "a truce in the gender war".[9] Kevin Thomas of the Los Angeles Times said Antonia's Line is "Beautiful, tender, hearty and poetic", and Van Ammelrooy is warm.[19] Conversely, Edward Guthmann of the San Francisco Chronicle called the film "an odd mix of schmaltz and anti-male orneriness" and the character of Antonia a "sour pickle".[20] Jonathan Rosenbaum of the Chicago Reader called it "humorless" "feminist rage".[21]

Women's studies professor Linda Lpez McAlister commented that "It seems to me that Gorris's accomplishment in this film is to have created a sense of place and characters full of life, full of quirks and idiosyncrasies and peccadillos, full of love, and rage, and desire".[23] Anneke Smelik analyzed the film, writing "It is Oedipal in the sense that it is about a family, but instead of featuring the triangle of father, mother and child, the film establishes a line of mothers and daughters." She goes on to write, "Female desire is represented in all of its diverse manifestations: Antonia's wish for independence, Danielle's quest for artistic creativity, Therse's pursuit of knowledge, and Sarah's curiosity about life in general".[24]

Antonia's Line won the 1996 Academy Award for Best Foreign Language Film,[22] the Toronto International Film Festival People's Choice award,[20] and two Nederlands Film Festival Golden Calf awards.[25] Gorris also won for Best Director at the Hamptons International Film Festival and Best Screenplay at the Chicago International Film Festival.[10]

Established in Melbourne (Australia) in 1999, Senses of Cinema is one of the first online film journals of its kind and has set the standard for professional, high quality film-related content on the Internet.

Senses of Cinema was founded on stolen lands. We acknowledge the sovereignty of the Wurundjeri and Boon Wurrung people of the Kulin nation and support all Aboriginal people on their paths to self-determination.

In a quiet farmhouse somewhere in the Dutch countryside, 90-year old Antonia begins the last day of her life. Lying peacefully in bed she recalls the day, shortly after the end of the Second World War, when she returned to the village where she was born. We then follow Antonia's tumultuous life in the village over the next 50 years. With the story of Antonia's life come those of her daughter Danielle, granddaughter Theresa, and the great granddaughter Sarah - Antonia's line - as well as the helper, soul mates, acquaintances, lovers and neighbouring villagers whom Antonia has gathered into her family over the years.

Giorgio de Chirico was born on July 10, 1888, in Volos, Greece, to an Italian family. His mother, Gemma Cervetto, was from a family of Genoa origin, but most likely she was born in Izmir. His father, Evaristo, was born on June 21, 1841 in the Bykdere district of Istanbul.

In 1493, exactly 500 years ago, Leonardo da Vinci was finishing the preparations for casting the equestrian monument (4 times life size), which Ludovico il Moro, Duke of Milan commissioned in memory of his father some 12 years earlier.

Linen backing is the industry standard of conservation. Canvas is stretchered and a sheet of acid free barrier paper is laid down. The poster is then pasted to the acid free paper using an acid free paste. This process is fully reversible and gives support to the poster. A border of linen is left around the poster and can be used by a framer to mount the poster so that nothing touches the poster itself. Backing is what we recommend for framing, and for any poster needing restoration.

Up to half of the steps taken during walking outside of a laboratory are not part of straight-line gait, and turns are especially common. The ability to perform agile maneuvers like turns is a fundamental skill that challenges balance as we navigate our environment or swiftly perform athletic maneuvers. While some balance-impaired populations struggle to turn, at the other end of the spectrum, the elite performance of athletes and dancers often relies on their abilities to turn with ease. This talk will introduce overarching turning mechanics and how athletes, young, and older adults generate and control the requisite momenta during different types of turns. The presentation will also introduce how generating rotational momenta can present conflicts with balance maintenance and the recent development of music-based biofeedback towards improving older adult balance during turns.

Dr. Zaferiou received her BE in Mechanical Engineering from The Cooper Union and MS and PhD in Biomedical Engineering from the University of Southern California. After her doctoral studies, she was a postdoctoral researcher in the Department of Mechanical Engineering at University of Michigan. Before joining Stevens Institute of Technology, she directed a biomechanics lab in the Department of Orthopedic Surgery at Rush University Medical Center. Her research has been funded by an NSF CAREER grant, the Interdisciplinary Rehabilitation Engineering Research Career Development program (NIH-funded K-12 program), and a Major League Baseball.

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