Michelangelo Antonioni’s Le Amiche opens with an aerial shot of Turin, Italy that, in the moment, could easily be mistaken as simply a cheery, picturesque backdrop for the credits sequence. Retroactively, though, the image proves deceptive and even misleading in its suggestion of peace and tranquility. Antonioni’s 1955 film interrogates the detrimental socio-economic dimensions of modernity in Turin by moving an assortment of characters through confrontations and conversations in drawing rooms and cafés, and outside on beaches and in alleyways, so that a character’s elation or devastation must be understood in relation to the place where it occurs. Le Amiche is filled with characters asking one another “why” something is happening, but for the director, “where” is always the most optimal question. Continue reading
C’eravamo tanto amati, a tribute to Vittorio De Sica, is not only about the difficult, frustrating post-World War II years of three men whose class differences overwhelm the close bond they formed while fighting for the Resistance. It is also a complex survey of thirty years of Italian cinema and its relationship to Italian history, photographed in various appropriate cinematic styles.
Situated some 200km off Italy’s southern coast, Lampedusa has hit world headlines in recent years as the first port of call for hundreds of thousands of African and Middle Eastern migrants hoping to make a new life in Europe. Rosi spent months living on the Mediterranean island, capturing its history, culture and the current everyday reality of its 6,000-strong local population as hundreds of migrants land on its shores on a weekly basis. The resulting documentary focuses on 12-year-old Samuele, a local boy who loves to hunt with his slingshot and spend time on land even though he hails from a culture steeped in the sea. Continue reading
A mental hospital somewhere in Tuscany during the thirties. Far away from fascism, this closed world is ruled over by Dr. Bonaccorsi, a passionate and benevolent psychiatrist whose dream is to isolate the germ of madness. He’s also a very active womanizer and three women benefit from his sexual itch: Francesca, the hospital manager’s wife, Bianca, his devoted nurse and Carla, the nymphomaniac wife of a doctor. His well-ordered universe starts to be challenged with the coming of Anna, a trainee psychiatrist, who disapproves of his theory on the origin of madness. Worse, she resists his advances. Since Bonaccorsi is more insecure than he looks, what will become of him? Continue reading
“Lulu the Tool” is no more descriptive a title for Elio Petri’s Italian social drama that opened yesterday at the D. W. Griffith Cinema than “La Classe Operaia Va in Paradiso” (“The Working Class Goes to Heaven”), the title under which it shared (with “The Mattei Affair”) the grand prize of the 1972 Cannes Film Festival. But if neither tag is memorable, there is little doubt that the director-writer, whose convictions are Communist, has projected a cynical view of the worker’s lot that is both fascinating and sobering.
Mr. Petri, who scored with his 1970 dissection of police authority in “Investigation of a Citizen Above Suspicion,” has again joined Ugo Pirro in writing the script. With Gian Maria Volonte, the top cop in “Investigation,” he points up the Kafkalike condition of “Lulu.” Continue reading
Winner of DocLisboa’s 2015 Best International Film Award, Alessio Rigo de Righi and Matteo Zoppis’s documentary explores the life of Mario de Marcella, a man who lived alone in a cave for over 60 years, nicknamed “Il Solengo” (the lone boar that’s been cut off from his pack). No one knows for certain why he decided to become a hermit. Still, hunters from his home village (who would occasionally encounter him in the wilderness) offer conflicting reasons about his solitude through elaborate stories. The negative space created by his absence is filled with gorgeous imagery of the Italian countryside. Continue reading
In keeping with his previous film Il generale Della Rovere, filmmaker Roberto Rossellini pursues a wartime theme in this “personal epic” Era notte a Roma.
The film is set in Rome during the German occupation after the armistice on 8 September 1943.
The story concerns three Allied POWS, who escape from their camp and hide out in Rome. The trio is given shelter and aid by a beautiful young woman who deals with black market disguised as a nun, her partisan boyfriend and several other people.
The three prisoners (one is Russian, one English, one American) display a genuine warmth towards each other that probably is meant to reflect the three countries’ joint effort against Nazi Germany.
Just as the variety of Italians involved in their protection as well as in their pursuit seems to be meant to reflect the chaos and mistrust reigning in those dark days. Acts of courage alternate with acts of treachery.
For reasons that remain obscure, Era Notte a Roma was never initially given a widespread American release. Continue reading