A wonderful fairy tale of the misadventures of a beautiful but temperamental Neapolitan peasant, Isabella, when she meets the ill- tempered Spanish Prince Rodrigo Ferrante y Davalos. The ... See full summary »
In 1950, 28-year-old outlaw Salvatore Giuliano is found gunned down in a Sicilian courtyard. Little is as it seems. The film moves back and forth between the late 1940s, when Giuliano and ... See full summary »
This consists of four short films by different directors. Rosselini's 'Chastity' ('Illibatezza') deals with an attractive air hostess who receives the unwelcome attentions of a middle aged ... See full summary »
Enrico Mattei helped change Italy's future, first as freedom-fighter against the Nazis, then as an investor in methane gas through a public company, A.G.I.P., and ultimately as the head of ... See full summary »
Gian Maria Volonté,
The story of Giuseppe Garibaldi's 1849 campaign to free Italy from Austrian domination. Although the defence of Rome has become impossible, Garibaldi declares his intent to continue the ... See full summary »
Turn-of-the-century Naples. Salvatore Ruotolo and his wife are murdered and their bodies are found in different locations. Since the evidence points to a crime by the Neapolitan crime ... See full summary »
Set in the last few years of the shogun's rule, this period/ensemble movie depicts the lives of the young and the restless at a whorehouse. The protagonist is Saheiji, a resourceful, witty ... See full summary »
This film seems an effort to engage the life and destiny of a city at the level of the political and social, using journalistic techniques but always with an awareness that these are also interpretations - something that most USian journalism tends to overlook. What will mostly bother people is that it lacks the usual human center - the man/woman/family to which the bad things happen which will cause us to care that they are happening. This is hardly an oversight; it is a choice, and one that deserves to be considered openly without the rush to judgment that otherwise occurs when confronted with the unfamiliar. The human center of the film is there, but always at the edges, implied. We barely glimpse the victims of the collapsed building, but their fate informs every frame. And the superb "portrayals" by actual members of the city council (the De Vita character, e.g.) give us not actors, but people enmeshed in the actuality. This film deserves wider awareness.
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