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Days of Nietzsche in Turin (2001)

Dias de Nietzsche em Turim (original title)
A cinematographic essay, without dialogues, about the months Nietszche spent in Turin, Italy, with narration quoted by his original writings.

Director:

Júlio Bressane
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2 wins & 1 nomination. See more awards »

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Cast

Credited cast:
Fernando Eiras ... Friedrich Nietzsche
Rest of cast listed alphabetically:
Paulo José Paulo José
Leandra Leal Leandra Leal
Tina Novelli Tina Novelli
Isabel Themudo Isabel Themudo
Paschoal Villaboin Paschoal Villaboin
Mariana Ximenes
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Storyline

A cinematographic essay, without dialogues, about the months Nietszche spent in Turin, Italy, with narration quoted by his original writings.

Plot Summary | Add Synopsis

Genres:

Drama

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Details

Country:

Brazil

Language:

Portuguese

Release Date:

31 March 2002 (Brazil) See more »

Also Known As:

Days of Nietzsche in Turin See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Stereo

Color:

Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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Connections

Edited from Othello (1951) See more »

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User Reviews

 
Only for fans of Nietzsche
22 April 2002 | by luiza do brasilSee all my reviews

This is an unusual, rather radical film about a very radical philosopher. To follow the film, and to appreciate it, one must be very familiar with Nietzsche, late 19th century West European History, and its culture. (selected Wagner music is played throughout the film.)

The film has no real plot. It is a composite of well-known Nietzsche writings voiced over in Brazilian Portuguese to situations in Turin (Italy) and to location shots of Turin, where Nietzsche spent a period of about nine months late in his life. It was a time when Nietzsche was at the height of his delirium, so many of his writings confirming this mental state are especially included.

The director of this film spent a lot of time both in Brazil and in Turin preparing the film. He was helped by his wife - the distinguished professor of philosophy Rosa Dias, who obviously influenced the film greatly.

Between 1995 and 2000, the director shot images of Turin for the film. Unfortunately, these are generally of bad quality (even if for effect - they don't work), and are contemporary, showing Turin today. All the movement towards the sky to avoid cars and skyscrapers being seen are not effective either.

The film is for Nietzsche scholars only. Anyone else, even insomniacs, will surely sleep right through it. The director deserves credit for having taken the chance on such an unusual film, and such an "un Brazilian" theme for a Brazilian movie.

But, the film is ultimately (predestined by its theme) a big bore of a tribute, perhaps even to those interested in Nietzsche and his texts.


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