The performances turned into something beyond the script and my imagination, the character depth is just chilling and brutally honest.
Speaking of range, the casting of Isaac and Laoutides has been the subject of intense interest, both of whom have created a performance buzz on set, together starting their careers in Chicago making names through arthouse cinema, “This is a story of similarities and differences between desperate people under the current state of the nation. With the ongoing expectations of diversity in film, one couldn’t ask more from the production, as a strong team of women headed by executive producer Monica Esmeralda Leon, with an infusion of cultures from cast, crew and the debut of Assyrian director Mirza Esho, range is at the film’s core. That’s where craziness starts and sweet dreams die. With lost hope Luca decides to take the biggest gamble of his life, taking his situation into his own hands by any means necessary. Not taking responsibility for his own failings, Luca starts to believe that political elites, changing demographics and immigration has led to society’s decay and his current circumstance. Luca, a third generation Italian American has inherited his family’s legacy, tradition and landmark, but his gambling addiction along with his wife’s sickness has slowly loosened his grip on his inheritance. Laoutides, in addition to the screenwriter stars as Luca Brunello, gripping onto an Italian ristorante that has been his family’s establishment since 1933. The owner Luca Brunello tries everything in his power to save his family’s restaurant, but ultimately comes up short with family and friends. Ashton, being secured by Ivan’s loan is only one day away from owning Brunello’s Italian restaurant, soon to be converted into a Middle Eastern eatery.
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Ashton’s shady mentor Ivan (international European actor Marius Iliescu), a Ukrainian Social Club owner has motivated him, revealing the American dream is just around the corner if you know how to play the game. Isaac, best known for his successful indie films plays Ashton Nassar, a Syrian refugee who wants more out of life then just being a taxi driver. The film is a modern-day social commentary piece reminiscing on inspirations of Martin Scorsese’s Taxi Driver (1976) and American History X (1998). The evocative first image of Zachary Laoutides and Emmanuel Isaac from the upcoming Mirza Esho drama-thriller presents a live portrait of poetic anguish, intriguingly pressing us to interpret and know more about. Back on the big screen, this is still one of the pinnacles of cinema.Los Angeles, California, Ma(GLOBE NEWSWIRE) - ‘That’s a wrap, folks!’ Ave Fenix Pictures Studios has announced to The Hollywood Reporter the completion of Where Sweet Dreams Die, the first mainstream film by the Chicago studio known for its rise in arthouse cinema. Bernard Herrmann’s score sounds like the city breathing, ominous and clammy, while De Niro’s performance is a masterclass in restraint and honesty.
Travis may wear his isolation proudly, but that doesn’t make it any easier to bear.įorty years on, ‘Taxi Driver’ remains almost impossibly perfect: it’s hard to think of another film that creates and sustains such a unique, evocative tone, of dread blended with pity, loathing, savage humour and a scuzzy edge of New York cool. This is a man scarred by war, perplexed by the permissive society and desperate to leave his mark on a world that barely acknowledges his existence.
In anti-hero Travis Bickle (Robert De Niro) we see traits of what would become the archetypal online troll – he’s bitter, reactionary and self-involved, describing himself as ‘God’s lonely man’.īut still, Scorsese and screenwriter Paul Schrader never treat him with anything less than the utmost empathy. ‘Listen, you fuckers, you screwheads, here is a man who would not take it any more…’ Re-released at a time when the grievances of white men are once more setting the world agenda, Martin Scorsese’s unflinching plunge into the darkest recesses of the human soul feels painfully relevant.
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