Elena and Antonio are not made for each other: they are too different, in terms of character, life choices, worldview and the way they relate to others. They are total opposites. However they are overwhelmed by a mutual attraction that they should avoid. Not only because they are not compatible, but also because Elena is engaged to Giorgio, and Antonio is engaged to Silvia, who is Elena’s best friend. Plus Fabio, the young Elena’s best friend, hates Antonio because he is openly homophobic. Initially, between Elena and Antonio, there is physical attraction and this is the first real turbulence in Elena’s life. Everyone will have to deal with the unexpected in a sudden storm of passion that changes all the rules of the game of their relationships. However this will not be the only turbulence in Elena’s life…
In first century Rome, two student friends, Encolpio and Ascilto, argue about ownership of the boy Gitone, divide their belongings and split up. The boy, allowed to choose who he goes with, chooses Ascilto. Only a sudden earthquake saves Encolpio from suicide. We follow Encolpio through a series of adventures, where he is eventually reunited with Ascilto, and which culminates in them helping a man kidnap a hermaphrodite demi-god from a temple. The god dies, and as punishment Encolpio becomes impotent. We then follow them in search of a cure. The film is loosely based on the book Satyricon by Gaius Petronius Arbiter, the “Arbiter of Elegance” in the court of Nero. The book has only survived in fragments, and the film reflects this by being very fragmentary itself, even stopping in mid-sentence.
The New York Times review, Published: October 16, 1972
Roger Greenspun wrote:
“Fellini’s Roma” is perhaps three-quarters Fellini and one-quarter Rome; a very good proportion for a movie. Although an appreciation of the city informs every part of the movie, Rome is not so much the subject as the occasion for a film that is not quite fiction and surely not fact, but rather the celebration of an imaginative collaboration full of love and awe, suspicion, admiration, exasperation and a measure of well-qualified respect.
It is also, for me, the most enjoyable Fellini in a dozen years, the most surprising, the most exuberant, the most beautiful, the most extravagantly theatrical. The audience I saw it with kept interrupting the film with applause. This isn’t something you normally do at the movies, but it seems proper enough for “Fellini’s Roma.”
Kevin: And the Ship Sails On is one of the last of Federico Fellini’s films, made at the twilight of his career. A lot of critics and even Fellini afficionados don’t give this film its full due; they see it as a morbid take on a past era, shot in morose shades of grey without the kind of elaborate camerawork and carnivalesque air that you find in his 60s films. We’re going to talk about a few of the things that we’ve picked up on in this movie that really make it stand out and worth considering.
Making Music without Rota
K: And the Ship Sails on happens to be the first film that Fellini had made without his longtime collaborator,the legendary composer Nino Rota. Which presents an irony since the film seems so preoccupied with the theme of music and examining music in all its power and mystery over people. Continue reading
Plot Synopsis from criterionco.com
Tragic story of a naive prostitute searching for true love in the seediest sections of Rome.
Nights of Cabiria Essay by Federico Fellini
The subject of loneliness and the observation of the isolated person has always interested me. Even as a child, I couldn’t help but notice those who didn’t fit in for one reason or another—myself included. In life, and for my films, I have always been interested in the out-of-step. Curiously, it’s usually those who are either too smart or those who are too stupid who are left out. The difference is, the smart ones often isolate themselves, while the less intelligent ones are usually isolated by the others. In Nights of Cabiria, I explore the pride of one of those who has been excluded.
Lucio Fulci and Edwige Fenech? Yep, that’s right. Like so many other Italian directors of the time Fulci did a lot of sex comedies so perhaps it was inevitable that at some point he would have crossed paths with one of the leading actresses. In La Pretora (the French release title translates as The Judge and the Whore) Fenech plays twin sisters, one a judge and the other a porn star. Enemies of the judge devise a plan to confuse the two and create problems. Or at least that’s what seems to be happening since there’s no subtitles and they would be helpful in parts. It’s a bit slow going at first but there’s a good bit of Fenech later in the film (the screenshot of Fenech combing her pubic hair kept being deleted by the image host so I left it out). For Fulci fans this is only for completists because it’s not very Fulci-ean and has zero horror elements. It could have been done by numerous directors. Fenech fans, though, will consider it a must. Continue reading
Basically a good murder mystery, ‘The Right Distance’ brings in contemporary issues like anti-foreign prejudices, marriages arranged with Eastern European women online, kids with computer smarts adults lack, and how these changes disrupt life in a little town. A beautiful young woman named Mara (Valentina Lodovini) comes to replace a schoolteacher in the Po Valley. Trouble ensues. One person in town doesn’t miss a trick: 18-year-old Giovanni (Giovanni Capovilla). He is highly motivated to become a journalist and has persuaded Bengivenga (Fabrizio Bentivoglio), an editor at a big city paper, to allow him to work as a low-profile stringer in the town. His job is to keep his eyes and ears peeled without anybody finding out that he’s a reporter. Naturally, he’s good with the Internet. He helps Mara set up her connection and in the course of dong so finds out her email password. Giovanni checks in on it from home and starts reading the accounts of day to day experiences she emails to her best girlfriend back home. Thus over time he finds out that she’s attracted to the local bus driver, Guido (Stefano Scandaletti), and that Hassan (Ahmed Hefiane), who runs the garage he himself works in, is attracted to her–and is stalking her outside her house in the dark. He also knows that Amos (Giuseppe Battiston), the tobacconist who’s making a fortune taking people fishing, went out in his boat with Mara and made some moves on her. It’s Amos who has the Romanian wife chosen from an online “catalog.” Hassan is an older (but handsome) Tunisian man. He has family members in the area but isn’t married. He has been in Italy a long time. Continue reading