Jailbait (Wildwechsel, 1973), also known as Wild Game Crossing, is a bleak story of teenage angst, set in industrial northern Germany during the 1950s. Like in many other of his films, ... See full summary »
Rainer Werner Fassbinder
Rudolf Waldemar Brem
Arnaldur, a 16-year-old boy living a normal teenager's life in Reykjavik. One day, coming home from school, he finds his brother in the bathtub, dead. Despite clear signs of a suicide, ... See full summary »
Based on a true incident, this tells the story of a troubled young man who kills his sister's reactionary, violent and abusive husband and is eventually arrested for the murder. However, ... See full summary »
Metello struggles to escape from the poverty that led to the premature death of his parents, and that is the lot of the working class in northern Italy during the second half of the 19th ... See full summary »
Venice, sixteenth century. Giulio, a foreign gentleman spends a memorable night in the city where he meets and beds two beautiful women. They are Angela, a widowed lady, and Valeria, whose ... See full summary »
After returning from a business trip in Finland, Bruno (Bruno Ganz) find that his wife Marianne (Edith Clever) wants her husband to leave her alone with their son. A struggle with loneliness and adapting to the new situation ensues.
Una notte di due balordi, Scintillone e Ruggero, a cui si aggiunge in seguito un terzo, Bellabella, che dopo un furto vengono a loro volta derubati. Tentano poi di rubare un'apparecchio ... See full summary »
The place is Trieste and the time is 1927. Emilio Brentani leads a peaceful and uneventful life with his older sister Amalia. At least until the day he meets Angiolina Zarri, a beautiful ... See full summary »
A radiant Ingrid Thulin escapes from Scandinavian gloom and into sunnier climes in this sensuous, if disturbing, erotic drama set in Venice. As the frivolous mother of a troubled teenage boy, she is a walking Oedipus complex in designer gowns (and a warm-up for more celebrated 'monster mother' roles in Night Games and The Damned). She dominates this film with her usual minimum of effort, no matter that she spends so much of it off-screen - in the arms of a dashing gigolo played by John Saxon.
How does her impressionable young son pass his time while Mummy is absent? Now we come to the secret of WHY this film is so totally obscure. (Even fans of Thulin, or of director Mauro Bolognini, barely seem to know it exists.) Wandering the desolate beaches of the Lido, the son falls in with a vagabond group of pubescent boys, ruled over by a mysterious older man whose attachment to them is...well, let's just say that implications are everything, and Bolognini's dreamily homoerotic photography of underage flesh would never pass scrutiny in our more knowing times.
For anybody who does not find its sexual subtext too off-putting, Agostino is an intelligent and handsomely photographed film. Its black-and-white views of Venice are as breathtaking as the later Technicolor visions of Visconti and Nicolas Roeg. If I can't recommend it wholeheartedly, that's because Bolognini (unlike, say, Louis Malle in the far superior Pretty Baby) does not seem entirely aware of the dilemmas raised by his own film.
At what age does human sexuality begin? At what age is it ethically acceptable for an artist to portray it? Such questions are rife in Agostino. The answers are nowhere to be found.
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