Meu Nome é Maria

Anamaria vartolomei is maria schneider, the actress who starred in bertolucci's "last tango in paris". With a violent, sexual scene, which she says was a complete surprise to her. Her co-star is matt dillion as brando. It was ahead if its time. Controversial, and a bit of a scandal at the time. Maria says that she was totally blindsided by the sexual scene, but only she, brando, and bertollucci know exactly what happened. Bertolucci was charged with indecency in italy. They were also doing many drugs at the time, as is well documented. Although they appear to have placed the drug addicts in a facility with the mentally challenged folks. It's mostly good. With french subtitles. Based on the story by maria's cousin. Currently showing on kanopy streaming. Directed by jessica palud. Sadly, schneider died young at 58, in 2011.

An emotion-charged expose of exploitation and coercion. Bertolucci and Brando literally groomed Maria Schneider into trusting them and then they raped her. Both of them are criminals not artists and the evil and narcissism on display in this film makes your skin crawl. Schneider thought she was working with "artists" and trusted these two disgusting egomaniacs who used her and threw her away like a piece of exposed celluloid. The reenactment of the rape scene is still harrowing and shot to protect Anamarie Vartolomei unlike the original which is shockingly disgusting. Brando is a big fat ugly monster and Matt Dillon could have gone deeper to reveal the truly demented psychology behind his so-called "genius". Bertolucci enjoyed watching her violation and his vicious voyeurism destroyed her life. He never warned her or apologized or took any responsibility for the aftermath his pretentious and violent film left her to struggle through. Both of these men should have served jail time for what they did to MARIA SCHNEIDER. Kudos to the filmmakers for revealing the dark underside of LTinP and the frauds that Brando and Bertolucci are.

Chewed up and spat out by the horrific practices of the past.

A very interesting movie about Maria Schneider and the aftermath of her mistreatment at the hands of Marlon Brando and Bernardo Bertolucci during the filming of Last Tango In Paris.

The lead actress is excellent as the titular character but like all biographical films it ends up being a whistle stop tour of her live. Informative though it is.

The movie is well made and captures the oeuvre of the day.

The rest of the cast is fine and Schneider's downfall is played with respect and honesty.

The movie does miss out a couple of points in her life. Namely her promiscuity as a budding actress is glossed over to make the assault caught on camera all the more shocking. Also her later life consisted of campaigning to get actors more protection from devious directors and producers that prey upon the young and vulnerable.

Matt Dillion does an uncanny impersonation of Marlon Brando...but that's all it ever is and never offers much more than a caricature. The story is told in a flat and uninspired style and has no real energy, especially given its scandalous subject matter. Watching reenactments of scenes from Last Tango In Paris are cringeworthy. Although this film was derived freely from Maria Schneider's cousin she was not present at the filming and everyone involved are now dead and these scenes might be fabricated by the director. I do believe she experienced abuse on set and the infamous "Get me the butter" scene is very hard to watch and Bertolucci probably took advantage of her inexperience to get reactions that a more experienced actress would have brought without being coerced into. It's sleazy. But the film never rises above the level of overblown melodrama. I know little about Maria Schneider other than a drug problem that got so bad at one point that it cost her a part in the Luis Buñuel film That Obscure Object of Desire. This should have been a compelling story but it's just so bland and by-the-numbers in its telling. I would have rather seen a documentary about the film and the subsequent reaction following its release. Sadly, no one is around to tell their story.

In an age when rights and protections for women are increasingly being placed in jeopardy, their preservation is imperative, and nowhere is this more apparent perhaps than in writer-director Jessica Palud's latest feature. In this flashback to a time when things were very different for women, the filmmaker places the spotlight on the sexist, demeaning demands that were placed on actress Maria Schneider (1952-2011) (Anamaria Vartolomei). Schneider's big career break came at age 19, when she was cast opposite screen legend Marlon Brando (Matt Dillon) in "Last Tango in Paris" (1972), the highly controversial hyper-erotic feature from director Bernardo Bertolucci (Giuseppe Maggio). What should have been a tremendous opportunity for the aspiring actress turned nightmarish when Bertolucci changed the nature of the film's ending without informing Schneider of what it entailed, a move allegedly aimed at getting as "natural" a performance out of her as possible. Shockingly, that change in plans resulted in one of cinema's darkest and most disturbing moments, when Schneider was subjected to a degrading act of debasement that affected her deeply, not only as shooting was wrapping up, but also afterward in both her professional and personal life. Her reaction was indeed "natural" in that it evoked severe fear and anguish in her (and among audiences) as it played out, ostensibly depicting an act of rape that appeared so authentically that it was difficult to believe it was merely simulated. In the wake of this outrageous atrocity, many filmgoers scorned Schneider for lascivious on-screen behavior (none of which originated with her), and she was subsequently only offered roles primarily built around the perception she was little more than a sex object, developments that Schneider spoke out about publicly but was quickly silenced by the movers and shakers in the male-dominated movie industry. In turn, these incidents troubled her so profoundly that she sought refuge as a heroin addict, subsequently experiencing financial difficulties and strained relations with her partner, Noor (Céleste Brunnquell), and her staunchly supportive Uncle Michel (Jonathan Couzinié), the only relative who stood by her through these crises. And, even though Schneider managed to steadily find work in mostly smaller roles throughout much of the remainder of her career, she was never the same person she was before the trauma she underwent on set. This offering thus presents viewers with a disturbing cautionary tale not only about what happened to the actress, but also of what women often had to endure at the time, conditions that, sadly, could be making a resurgence as safeguards protecting them against such treatment are being systematically dismantled. Because of that, "Being Maria" makes for a very disturbing watch at times, a picture sure to provoke justified outrage among viewers. In telling Schneider's story, the filmmaker has crafted an edgy but engaging work that features superb performances by leads Vartolomei and Dillon, as well as by Maggio as the creepy director who spawned these despairing developments. Admittedly, there are times when the pacing here could stand to be a bit brisker, but that's a small consideration in the face of everything else that this release gets right. To be sure, one might not feel comfortable in watching this biopic, but, then, that's the point of it - showing the unspeakable indignities that this woman faced and that society should do all it can to prevent from happening again.