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Letizia Toni shines as the famous Italian rockstar Gianna Nannini in the new biopic Beautiful Rebel. We see glimpses of Nannini’s fiery spirit that made her a pioneer for women in rock music. But the film too often rushes over important parts of her story.

Nannini rose from a wealthy Italian family to become one of Europe’s most prominent singer-songwriters. She defied expectations with her unapologetic style and lyrics tackling taboo topics. Nannini held her own in the male-dominated rock world with her undeniable musical talent and charisma. Her career has spanned over four decades and nearly 30 albums.

Beautiful Rebel aims to capture this journey. At first, it seems like an engaging look at Nannini’s life. Toni immerses herself in the role, embodying Nannini’s rebellious energy. We see Nannini clash with her traditional father and find her voice in Milan’s edgy music scene. But then...

German distributor-producer SquareOne Entertainment, part of rising European film studio Vuelta Group, has acquired German film and TV production, distribution and licensing company Telepool, which was owned by Will Smith and Jada Pinkett Smith’s Westbrook.

The news was announced Wednesday by Vuelta Group chairman Jerome Levy and CEO of SquareOne and Vuelta Group Germany Al Munteanu.

Munteanu will spearhead the newly combined entity under the SquareOne banner with Michael Heyd serving as CFO/COO.

The newly combined SquareOne entity will boast a library consisting of over 1,200 titles such as “Drive,” “Intouchables,” “The Olympus Has Fallen,” “The Hitman’s Bodyguard,” “Imitation Game,” “Lone Survivor,” “Book Club,” “Transporter 3,” “King Richard,” “Maurice the Tomcat” and the recently released “One Life” among others.

“For over 60 years, Telepool has been one of the leading global content houses and we are proud of the work we did with the company,” said Westbrook CEO Kosaku Yada.

Gianna Nannini’s life has been nothing short of a rollercoaster ride. Netflix’s latest docu-drama film on the celebrated Italian rockstar, Beautiful Rebel, takes us to the depths of her fears and anxieties. Suppressed by her father from a young age, Gianna grew up somewhat mentally ill, and she obsessed over being in control of her own life. Gianna’s days of being completely unstable and almost losing her career involved one person in the middle of it. Marc, aka Sixteen, Gianna’s lover and an alcoholic.

Spoilers Ahead

How does Gianna meet Marc?

A girl named Tina dies in the hotel Gianna used to live in after she left her home. Tina and Gianna grew close in no time, but she died of a drug overdose while listening to Gianna’s unfinished song recordings. At Tina’s funeral, Gianna first sees Marc while she’s on the piano.

Netflix has unveiled its latest biographical masterpiece, “Beautiful Rebel,” shining a spotlight on the tumultuous yet inspiring life of Italian rock legend Gianna Nannini. Born in Siena, Nannini emerged as one of Italian music’s most distinctive and impassioned voices, tearing through the melodic landscape of the 60s and 70s with her raw vocal delivery and lyrics brimming with sincerity, realism, and creativity.

For those unfamiliar with Nannini’s legacy, the film offers a comprehensive look at her career — from her humble beginnings performing in clubs to overcoming adolescence and familial challenges, achieving tremendous success while navigating personal hardships, including alcoholism, mental health issues, and eccentricities.

Gianna Nannini: Italy’s Answer to Janis Joplin

The film presents an intimate exploration of Nannini’s life, but it also serves as an analysis of the musical narratives behind her songs. It investigates the inspiration, creation process, and influences of her music, emphasizing...

The Netflix May 2024 originals, movies, and TV shows have been revealed and can be viewed below. The streaming service has also announced which movies and TV series will be leaving next month.

The May lineup includes Archer Seasons 1-13, Atlas, Blood of Zeus Season 2, Bodkin, Bridgerton Season 3 Part 1, Jurassic World: Chaos Theory, Mark Twain Prize Award: Kevin Hart, and Mother of the Bride.

The Netflix May 2024 slate also features Mulligan Part 2, Pokémon Horizons: The Series Part 2, Princess Power Season 3, Roast of Tom Brady, Selling the Oc Season 3, Thelma the Unicorn, Unfrosted, and more.

Netflix May 2024 Schedule

Available May Tba

Buying London (Gb) — Netflix Series

Follow luxury estate agent Daniel Daggers and the team as they navigate London’s super-prime market, where the drama is as jaw-dropping as the price tags.

The Life You Wanted (It) — Netflix Series

Gloria is finally happy after transitioning and settling down—until a longtime friend...

One of the year’s most magical cinematic experiences hails from Georgia. Alexandre Koberidze’s What Do We See When We Look at the Sky?, which premiered at Berlinale earlier this year and opens in theaters this week via Mubi, is a delightful city symphony capturing summer in Kutaisi. Following a pharmacist named Lisa and a soccer player named Giorgi––along with many others who call the city home––we witness quite a unique take on a relationship story as life unfolds around them.

I spoke with Koberidze about inviting the audience into this fairy tale of a film, his time at German Film and Television Academy Berlin (Dffb), the joy of Buster Keaton films, his favorite city symphonies, capturing soccer in cinema, canines, and more.

The Film Stage: At the New York Film Festival premiere you mentioned that every second of this film felt precious to you and you...

“Attention!” bawls an onscreen title, or rather its subtitle, given that the original is written in Georgia’s lovely curly alphabet. “Dear Audience, please close your eyes at the first signal.” Alexandre Koberidze, writer-director-narrator of the marvellous, mischievous “What Do We See When We Look at the Sky?” probably doesn’t expect anyone to obey as he effects his story’s central switcheroo, like a kid not great at magic asking mom to look away from the handkerchiefs he’s stuffing up his sleeve. But that’s not the point.

Instead, the command, along with other self-conscious flourishes like the direct-address voiceover, the creaky, obviously manual zooms and the sudden, interruptive digressions about global catastrophe and far-off forest fires, reminds us of ourselves in relation to the film, that we are active participants in the creation of this (or any) work of cinema. And given how much this movie loves the movies,...