Lo zio di Brooklyn (1995)

Directors:

Daniele Ciprì, Franco Maresco

Writers:

Daniele Ciprì, Franco Maresco

Stars:

Salvatore Gattuso, Pippo Agusta, Salvatore Schiera

2 nominations.

Cast

Cast overview, first billed only:
Salvatore Gattuso	...	Zio di Brooklyn
Pippo Agusta	...	Don Masino
Salvatore Schiera	...	Gaetano Gemelli
Gaspare Marchione	...	Toto Gemelli
Natale Lauria	...	Iachino Gemelli
Rosario Carollo	...	Ciccio Gemelli
Pietro Rizzo	...	Sarino
Francesco Arnao	...	San Polifemo
Antonino Bruno	...	Il Mago Zoras
Luigi Cinà	...	Paliddu
Bruno Di Benedetto	...	La Nana
Salvatore Farina	...	Madre del mago Zoras
Umberto Florulli	...	Cantante
Pietro Giordano	...	Vendicatore
Giovanni Gucciardi	...	Custode cinema

Storyline

---

Plot Keywords:

landscape | breaking the fourth wall | dialect | mafia | flatulence | 

---

Details

Country:

Italy

Language:

Sicilian Italian

Release Date:

13 October 1995 (Italy)

Also Known As:

The Uncle from Brooklyn

Filming Locations:

Palermo, Sicily, Italy

Company Credits

Production Co:

Digital Film

Technical Specs

Runtime:

98 min

Color:

Black and White

Did You Know?

Connections

References Bicycle Thieves (1948)

---

Soundtracks

"Curtiello cu curtiello"
by Fiorini and Di Domenico

User Reviews

nonsense

The best italian film of the 90's, the most extreme and radical work since SALO', a ruthless representation, in a surreal-metaphorical key, of a civilization condemned to worshipping its own blindness. The two sicilian directors use a language free from compromise and from the traditional storyline rules: the movie is photographed in a sharp and very contrasting black & white, with no beautiful pimp music, and lacks a logical story. There are no women (the ones we see are actually men), and the language is strict sicilian dialect. The directing style is characterized by long fixed shots on a post-atomic world, which is really present-day Palermo, inhabited by fat people in socks and underwear who burp and fart while roaming around smelly alleyways and waste dumps. And above all, there is the black humor of the two "cinics", acute, ruthless, and very intelligent. An extraordinary essay of surrealistic cinema in perennial confinement between drama and irony, between disconcertment and a liberatory laugh, the whole mixed with a profound sense of squalor and discomfort that accompanies the viewer even after the film is over. A film that shows the loss of certainty and moral values in today's world, the absence of order and sense: God is dead and man is alone in this abyss, this is what Cipri and Maresco seem to be reminding us of with a resonant blow.