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Femminilità (in)corporea (2013)

Dissatisfied with life and material that leads from the corrupt who attends, Raffaele decides to escape from his wife , from the lover and even from his daughter . After purchasing a ... See full summary »

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Cast

Cast overview:
Anna Palco ...
Paola
Monika Malinowska ...
Greta
Giulia Marzulli ...
Gianna
Rachel Rose Wood ...
Fantasy girl
Roger A. Fratter ...
Raffaele
Pietro Mosca ...
Saggezza
Anthony Paul ...
Enzo
Valerio Ragazzini ...
Vanni
Matteo Maffeis ...
Michele
Maria Elena Baroni
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Storyline

Dissatisfied with life and material that leads from the corrupt who attends, Raffaele decides to escape from his wife , from the lover and even from his daughter . After purchasing a painting depicting a sensual female figure, Raffaele disappears from real life to enter a world of indefinite done art , sensuality and mystery...

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14 March 2014 (Italy)  »

Also Known As:

(In)Corporeal Femininity  »

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1.78 : 1 / (anamorphic)
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User Reviews

 
interesting film, but has symbolism in excess and is far too Suspended
18 March 2016 | by (Italy) – See all my reviews

With this film, the complete filmography of Roger Fratter, excluding many smaller short films and the still unreleased feature film "L'amore sporco di Valeria" and the "Guerra bianca" documentary that given the nature of the product is not fiction, does not fall for obvious reasons in the field of traditional cinematography. Several times I have spoken favorably of this director (as well as an actor based on what I have seen in recent films), do not say this to flatter or idolatry, but I think that in the vast panorama indie, and considered one the best, and with its own particular way of making films, with a great desire to experiment and try out more original works, unpublished and why not ... unique. Femininity (in) body is not immune to this statement, and worthily concludes a trilogy of films thickness introspective, strongly supported trilogy and made with profusion from the already mentioned and accomplished director, the work but at the same time truly speaking, the undersigned does not him among his favorites. I regret a little 'to say, it is only partially able to break through in my mind from the viewer, unlike what occurred instead in the previous films. Mind you absolutely do not want to diminish the high quality aesthetics and film that are a perfect fit, among other film with an excellent yield and with a solid structure, and all accompanied by a general acting very professional and realistic, and with a direction without flaws. The fact is that I found this feature, too intimate, and who tries to express the human motions, feelings and emotions in a sometimes tedious, and riddled with symbolism not always easy to catch. Agree that the Fratter cinema has a something suspended, veiled and unexplained but this time it tends to rise perhaps a little 'too doses and demonstrate clearly certain sequences. Worth noting that this film has strong and well placed elements that are connected in the field of literature and art. In the first case because it mainly make the protagonist as a kind of alter ego Pirandello who engages in a kind of inner journey, in the second case because art denotes a key element of the story, he represented intelligently and with a marked intellectuality, and what makes the film more abstract. Based on what I am writing this review I think I get the idea that compared to what we saw before, I found myself during and at the end of quite confused vision, but the fact remains that I have fully enjoyed the film and watched with interest . Returning to the concept drama, as just mentioned, was pleased with it, apart Raffaelle (played by the same Fratter, again protagonist and that is good and partly as always), and both the actors and the actresses, it seemed like if they had a setting and a theatrical tone that basically fits and adheres very well to the context that we have tried to represent, that a cast is first-rate, not only in the field but expressive recitative. In the case of the actresses, they are also equipped with special beauty (Monika Malinowska my favorite of all) and who know how to play well their seduction card, so I can say with certainty that this time Fratter has not betrayed its own brand of factory. By not dwell too much about the plot and details, also I will only say one thing nevertheless important: Though the woman or women better as we have seen in the previous films are analyzed with common sense, the male figure is not totally neglected or belittled, indeed, here even more than ever is accentuated, such as voice- over by Raffaele he is a clear demonstration. Finally, by analyzing the locations and scenes, here the director has surpassed himself, you can clearly see that despite a tight budget, he managed to recreate in both cases, the very commendable and valuable things (the charming country cottage both inside Europe and exterior has particularly stupid me), while regarding the audio industry, thanks to the excellent and always trusted Massimo Numa, delights of music and some beautiful songs, which I think is nothing short of amazing, and they have nothing to envy to those commercial. What else to say? Given the complexity and nature of the film in question, I feel the duty to watch it in the future, at least once, and groped to grasp certain nuances that will surely have passed me and eventually revalue even more positively. However the film "Tutte le donne di un uomo da nulla" (and its protagonist Paolo Nullo), is in my opinion the best film in the trilogy, as on so many things we had identified me the most, and also has a style more linear, and with a definitely smaller symbolism.


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