In the harsh granite mountains of the center of the island of Sardinia in the Mediterranean Sea, an old people live at the town of Orgòsolo. Between the rocks and the oak woods, shepherds ... See full summary »
A schoolteacher (Miereveld or "field of ants") is entranced by one of his students (Fran). Not being able to have his love fulfilled he tries to escape it and moves house and job. Working ... See full summary »
Etsuko, after her husbands death, moves in with her in-laws. With ambivalence, she finds herself sexually involved with her father-in-law. She then finds herself desiring young gardener Saburo, who has a relationship with the maid Miyo.
After a stint in the army fighting in Angola, a soldier comes home to find his sweetheart has married his brother. He makes advances towards his sister-in-law, but she turns him down. ... See full summary »
Geraldo Del Rey,
A private detective is hired to find a missing man by his wife. Contradictory evidence and the lack of clues soon render the case as virtually unsolvable, as the detective grows more and more frustrated.
The obscurity of this motion picture is hard to explain after having watched it twice. Maybe it got lost in the crowded field of mid 60's art cinema, neglected amid Woman in the Dunes, Persona, Blowup, Who's Afraid of Virginia Woolf, Masculin/Feminin, Darling, 2001. And the name of the director may be too similar to that of the director of Bicycle Thieves. It has been known to happen. All I can say is that Un Uomo a Meta blew my mind even without understanding all of the dialogue/voice-over in Italian. There's so much more to this film than the words. De Seta uses the medium to reimagine narrative itself. An amazing cinematic venture into the subjective side of a character in full meltdown mode. Perrin delivers 1000% with his mysteriously tormented Michel. Morricone's music is loud, percussive, even intrusive, but always justifiably so as we accompany Michel on his journey to the abyss. Cinematographer Dario DiPalma gets some superb shots that are hard to describe except by their effect, which feels something like "seeing" mental disintegration in 3D. The focus puller deserves special praise for fearlessly staying out of focus! Overexposure is also employed effectively, years ahead of all those Ralph Lauren commercials. The cuts come rapidly, jarringly, as if anticipating a film aesthetic that still has yet to arrive. There must be some way to get this movie subtitled for presentation to a wider audience. De Seta has made one hell of a movie. In the history of films of dissolution Un Uomo a Meta can be placed in a middle period, after Dimitri Kirsanoff's Menilmontant (1926) and before Christopher Nolan's Memento (2000). Yes, it's that good. I also wonder if Cameron Crowe was aware of Un Uomo a Meta when making Vanilla Sky (2001).
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