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In the summer of 1984, Pietro, an 11-year-old from Turin, and his mother Francesca rent a house in a village called Grana in the Italian Alps. There they meet Bruno, the last kid remaining in the village; estranged from his parents, he lives with his uncles and aunt. Months later, Pietro's father Giovanni arrives as well and the trio go on a hike. One day, Bruno informs Pietro that Pietro's parents have offered to adopt Bruno so he can go to school in Turin, and his uncle has agreed. Pietro, has a complex reaction to this idea which he identifies as believing Bruno should not be uprooted from his world, and protests the decision. Bruno's father is angry at the interference and soon takes him away to work for the summer and they do not see each other again for some time.
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In the months since, that disconnect has been playing in my head on a loop, and it’s come to feel like a metaphor for my own distance from the readers I write for — a distance I try my best to close with every review, every essay and, yes, every list like this one. One of the necessary privileges of being a critic is the opportunity to see new movies early, sometimes a week or two before they’re released (in the case of most studio pictures), and sometimes months in advance at film festivals. This year, my NYFF duties meant seeing more than a few major movies in unfinished form, which made them all the more intriguing to revisit later, with fresh eyes, when the time came to actually write about them. For both boys, their friendship proves a soul-sustaining connection, one that begins with them dubiously eyeing each other in Pietro’s dark, claustrophobic holiday home but that rapidly shifts once they dash outside. They walk, race and tumble through the area, exploring and sharing.
Review: ‘The Eight Mountains’ is already an art-house hit — and an emotional powerhouse
The two boys come from different worlds but are the only children in the village. They become friends instantly, out of convenience, but also because they throw themselves into shared activities with the easy trust children often have. They have an idyllic summer, wandering the steep slopes, swimming in a blue-green mountain lake, and at one point, hauling rocks into a stream to build a makeshift dam. Bruno and Pietro reunite every summer, picking up where they left off. Sometimes friendships formed in childhood are like that if we're lucky. It really helped us rediscover each other and see how complementary we are and trust each other’s instincts.
Geri from Freespace Design
Bruno confronts Pietro with the aimlessness of his life and pushes him to help him build the house his father had wanted. Bruno plans to restore his uncle's pasture and continue living the life of a mountaineer, and encourages Pietro to follow his dream and write a book. An unusual pairing, to be sure, but one that for me makes a sad and sublime kind of sense.
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The story begins in the summer of 1984, when 11-year-old Pietro and his parents, who live in Turin, spend the summer in a small Alpine village. It’s here that Pietro meets Bruno, a boy roughly the same age, who swiftly becomes his friend and guide. The region, with its scenic lakes and jaw-dropping vistas, is a boundless sun-drenched playground. And the writer-directors Felix van Groeningen and Charlotte Vandermeersch joyously capture the boys’ rambunctious, rough-and-tumble innocence, the pure happiness we see coursing through their faces and bodies as they run, wrestle, yell and explore.
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Vandermeersch, primarily known for her work as an actress, had previously appeared in several of her husband’s other movies and received a screenplay collaboration credit on his Oscar-nominated The Broken Circle Breakdown. But as Van Groeningen began to approach shooting the adaptation of Paolo Coginetti’s novel that he’d co-written with his wife during pandemic lockdowns, he suggested that she join him in helming the film. Based on the award-winning Italian bestseller “Le Otto Montagne” by Paolo Cognetti, the movie is novelistic in the best sense. It immerses you in the world of its characters – both human and Alpine – on that chimingly deep level that usually only literature can access. But it lives and breathes in beautifully cinematic terms, with each one of Ruben Impens’ stunning academy-ratio pictures worth a thousand words. Although this classic bildungsroman may have been nipped and tucked in the transition from page to screen, in terms of scale and sweep and emotion, little appears to have been lost in translation.
In this story, it isn’t an act of betrayal or redemption when a man turns out to be a better, more attentive father to a child other than his own; it simply is what it is, a testament to nature’s unpredictability, a wound and a balm rolled into one. Indeed, one of the more graceful surprises in a story suffused with loss and regret is the way Giovanni and Bruno’s surrogate bond ultimately opens the door, for Pietro, to a deeper kind of reconciliation. It allows him to make peace with a father he barely knew, and with a friend he loves more than he understands. The narration — so often a crutch that book-to-film adaptations rely on too heavily — is sparing. Van Groeningen and Vandermeersch smoothly carry Pietro and Bruno across time, which by turns expands and contracts, races forward and decelerates.
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Charlotte wanted to further develop her design skills and received her graduate degree in Interior Design and Architecture from the Parsons School of Design with honors. She also spent time working for the esteemed interior design firms Pembrooke & Ives and David Scott Interiors. Being around since 2010, their signature style is all about emphasizing color and fresh patterns. They want to influence spaces while helping people feel the space and what it’s all about. This native has essentially been considered the “face of interiors in Charlotte.” This is also literal as she’s been on the front cover of Charlotte Magazine for two consecutive years.
The Eight Mountains review – a movie with air in its lungs and love in its heart
The film is based on an Italian novel of the same title by Paolo Cognetti. It has won multiple awards in Italy and France and is also the author’s first book published in the U.S. This “garden room” belongs to a home in the historic downtown district of Charleston, SC. The room served as the carriage house’s original kitchen, and vestiges of those humble beginnings (like the exposed brick wall and the perfectly imperfect beams) still show.
The actors bring all the intelligence such heart-rending delicacy requires, too, as cinematographer Gábor Marosi foregrounds their faces in flatly lighted widescreen images evocative of a dimly lighted existence. With deep, melancholy eyes you can imagine inspiring a painter, Hajduk keeps Aldó’s sorrow ever-present, even in the hint of a smile; the way his worry for “Sunny” (Klára’s nickname) becomes a quiet engine in the film is a low-key master’s class. ” I’ve just logged in to Zoom to talk to Belgian directors Felix van Groeningen and Charlotte Vandermeersch, and they’re laughing already. ” says Vandermeersch I flap around, fiddling with my webcam, but nothing will correct the me-shaped smear on the screen.
At Cannes, critics praised the film’s attention to detail and the way it used elements of nature to conjure the feelings of magic that childhood friendships can create. It’s been a long time since Pietro has seen Bruno too; like so many childhood friendships, theirs faded as the two grew up and went their separate ways. The house is soon finished, and over time it becomes a place for them to reunite every summer, a high-altitude oasis amid lives often adrift in confusion and uncertainty.
Time is given to allow us to soak up the atmosphere, and to get to know the familiar slopes in different weathers, at dawn, dusk, winter, and summer. Music plays almost throughout, sometimes a long keening note, with muffled percussion underneath, creating an eerie, lonely feeling. They're made up of time spent, of being mindful and thoughtful towards your friend and ensuring to stay in touch, even with the distance between them. Memory looms large in “The Eight Mountains,” nearly as large as the craggy peaks that fill the frame and offer a misleading explanation of the movie’s title (which it shares with its source material, a 2016 novel by Paolo Cognetti).
Think where man’s glory most begins and endsAnd say my glory was I had such friends. His interviews, reviews, and other commentary on film also appear regularly in Slashfilm, Decider, and Little White Lies. Charlotte, have you been back in front of the cameras since working behind them? I’m curious if having served as a director has affected at all the way that you approach being an actress.
While she’s based in Dilworth, most Mary’s clientele comes straight out of Charlotte. Mary and her firm Mary Tobias Miller Interior Design offers various services to commercial and residential clients. Sometimes you just want everyone to go away and leave you alone so you can finish that damn magnum opus, which is no small task when your more popular and acclaimed friends are constantly overshadowing you. The tetchiness of the creative temperament is on grand, empathetic display in “Showing Up,” Kelly Reichardt’s exquisitely observed art-world comedy, and “Afire,” Christian Petzold’s tense, biting tale of a working holiday gone awry. Both feature expert, vanity-free performances — from Michelle Williams and Thomas Schubert, respectively — playing such memorably self-serious grumps that you almost want to see them co-star in a crossover rom-com sequel. There’s nothing like watching a movie with an audience — and, as I realized a few months ago, there’s nothing like watching an audience watch a movie.
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