Paphnutius, a wealthy Alexandrian, is about to embrace the new faith of Christianity, but is persuaded by a friend to first see Thais, the most notable courtesan of her time. He falls in ... See full summary »
Frank Hall Crane
In pre-war Italy, a young couple have a baby boy. The father, however, is jealous of his son - and the scene moves to antiquity, where the baby is taken into the desert to be killed. He is ... See full summary »
A pulsing, kaleidoscope of images set to an energetic soundtrack. A young women swings in a garden; a woman's face smiles. The rest is spinning cylinders, pistons, gears and turbines, ... See full summary »
Kiki of Montparnasse,
Seven long-time friends get together for a dinner. When they decide to share with each other the content of every text message, email and phone call they receive, many secrets start to unveil and the equilibrium trembles.
Bianca Bellincioni Stagno is an expert dancer. Of Slavic origin is the countess Vera Preobajenska, eccentric writer with the pseudonym of Thais.She likes to give crazy looks, but she does not love anyone with sincerity and she enjoys collecting lovers. Thais invites Count San Remo to seduce him too. The house is decorated in a futuristic style, with hypnotizing geometric patterns, repetitive elements on the walls like the eyes of a peacock's tail. Bianca falls from the horse, because disappointed by the Count who loved inside her, she launches into a wild ride on horseback. Thais feels guilty for this. Thais wants to die in the poisonous gases in his room, but his survival instinct lights up even though Thais dies in despair and madness.Written by
This is the first film directed by Anton Giulio Bragaglia, a pioneer in Futurism photography and cinema Futurism was a mostly Italian artistic movement, emphasizing contemporary concepts of the future. The film's prologue states that it includes images by Futurist painters to strengthen the classic narrative in order to evoke in the viewer stronger emotions than those created by mere film images.
The film contrasts naturalist outdoor views of horse riding, horse carriages and motor cars, in particular a car crossing a river on a small ferry, with indoor views with sets designed by renowned Futurist painter Enrico Prampolini. As the film progresses and Thaïs becomes more and more irrational, the geometric and symbolic motives of the sets take an increasing importance and the film becomes almost abstract.
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