Tag Archives: Pierre Clémenti

Liliana Cavani – I cannibali AKA The Year of the Cannibals (1970)

Synopsis:
The streets of a big city are full of dead bodies but people seem not to notice and pass by indifferently. At the behest of the authorities, the bodies of those citizens who were killed because the rebels should serve as a warning. Antigone wants to bury her brother. A young foreigner who speaks a foreign language and will offer his cooperation. Together, they try to bury the dead, but are discovered and killed. However, the example of the two is followed by other young people who take to the streets to continue to bury the corpses, again defying the authorities Read More »

Carlos Vilardebó – As Ilhas Encantadas AKA The Enchanted Islands (1965)

A desert island in the Atlantic, a woman alone after the death of both her brother and her husband, a very young French sailor abandoned by his ship. Love takes over and an enchanted new life begins, although they do not speak the same language. But it all comes to an abrupt end… Amália Rodrigues with her radiant beauty in an almost silent picture.

Free adaptation of a short story by Herman Melville, shot in a deserted islands near Madeira. Read More »

Pierre Clémenti – Visa de censure n°X AKA Certificate No. X (1967)

Quote:
Shot in 1967 but not released until 1975, actor Pierre Clémenti’s acid-infused experimental whirlwind of color and music featuring a who’s who of the French 60s underground. Read More »

Frank Cassenti – L’affiche rouge AKA The Red Poster (1976)

“Blood-red posters featuring portraits of wanted ‘terrorists’ decorated every street wall in occupied France during World War II, and this account of how 23 foreigners working for the Resistance were caught and executed dramatises one of the heroic myths of the Occupation. But Cassenti adopts a radically different perspective from the humanist ‘honesty’ of L’Armée des Ombres or even Lacombe Lucien, and instead attempts a Marxist analysis of the myth and what it means, historically, to re-enact it. As it moves from one level of representation to another with a Brechtian approach to performance, the film occasionally obscures its aims but never fails to challenge the way we receive history in the cinema.” – Time Out Film Guide
Read More »

Miklós Jancsó – La pacifista – Smetti di piovere AKA The Pacifist (1970)

29f7c043f76a2bde437fd0d52a185152

This highly symbolic and enigmatic political drama by Hungarian director Miklos Jancso was produced by a consortium from Italy, France and West Germany. This film is considered to be an homage to Antonioni as it uses his favorite leading actress (Monica Vitti) and his cameraman Carlo di Palma. This film was made during a time when Jancso was not allowed to make films in his native Hungary. In the middle of the crowd, while covering an Italian political protest by leftists, The Journalist (Monica Vitti), a pacifist, finds herself surrounded by a quite different group of people who jostle her, remove her recording equipment from her and set her car on fire. She complains to the police about this. However, when the police bring one of the young men before her for her to identify him, she says he is not one of her attackers. This leads to her having a romantic relationship with the young man. The group, and the young man, are young Italian neo-fascists, and the young man has been given the job of assassinating a leftist. He is too gentle to do this, and his group kills him right before The Journalist’s eyes. She goes to the police again, but they begin to believe that she is insane, even when she is forced to kill her boyfriend’s assailants right there in the police station. Read More »