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La Sapienza (2014)

Unrated | | Drama | 24 November 2014 (Italy)
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At the height of his career, Alexandre decides to set off for Italy with the idea of completing of a book on Borromini. Along with his wife Alienor feels her relationship with Alexandre is ... See full summary »

Director:

Eugène Green

Writer:

Eugène Green
2 wins & 2 nominations. See more awards »

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Cast

Cast overview, first billed only:
Fabrizio Rongione ... Alexandre Schmidt
Christelle Prot Christelle Prot ... Aliénor Schmidt (as Christelle Prot Landman)
Ludovico Succio Ludovico Succio ... Goffredo
Arianna Nastro Arianna Nastro ... Lavinia
Hervé Compagne Hervé Compagne ... Ministre
Sabine Ponte Sabine Ponte ... Isabelle
Gilles Tonnelé Gilles Tonnelé ... Président du Conseil
Nathalie Chazeau Nathalie Chazeau ... Femme au téléphone
Irene Fittabile Irene Fittabile ... La mère
Michele Franco Michele Franco ... Concierge de la Sapienza
Jon Firman Jon Firman ... L'Australien
Mario Bois Mario Bois ... Le réceptionniste
Clément Cogitore Clément Cogitore ... André
Maria Chiara Malta Maria Chiara Malta ... Maria Rosaria Vittori (as Chiara Malta)
Sébastien Laudenbach Sébastien Laudenbach ... Thomas Gridaine
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Storyline

At the height of his career, Alexandre decides to set off for Italy with the idea of completing of a book on Borromini. Along with his wife Alienor feels her relationship with Alexandre is gradually slipping away. Along the way they meet siblings Goffredo and Lavinia. Gofffredo is about to embark in architectural studies. A story of rediscover the joys of life and overcoming anxiety. Written by TV

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

Unrated | See all certifications »
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Details

Official Sites:

Official site [France]

Country:

France | Italy

Language:

French | Italian | English

Release Date:

24 November 2014 (Italy) See more »

Also Known As:

Das Licht der Weisheit See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Color:

Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Quotes

Aliénor Schmidt: Ridding ourselves of the useless is perhaps the most difficult thing.
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Soundtracks

Magnificat à 6 voix: des Vepres de la Vierge (
Magnificat", "Fecit potentiam", "Deposuit potentes", "Esurientes", Suscepit Israel")
Composed by Claudio Monteverdi
Performed by Concerto Italiano featuring Anna Simboli (soprano), Gianluca Ferrarini (alto), Raffaele Giordani (tenor), Matteo Bellotto (baritone),
Monica Piccinini (soprano), Andrea Arrivabene (alto), Luca Dordolo (tenor), Salvo Vitale (baritone)
Directed by Rinaldo Alessandrini
See more »

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User Reviews

 
Eugène Green's stilted pretensions?
12 March 2016 | by janjira-31277See all my reviews

Extremely different reactions to "La Sapienza" reflect differences in temperament. Negative criticism tends to remark the film's arty pretension, lack of plot, and pointlessness. It is easy to see why someone might react in this way, because Eugene Green's movies are different from everything else on offer, including so-called art-house films. To say that his characters do not talk as real people talk is exactly right, given that Green's characters speak in the declamatory Baroque style, a style which he has been teaching these past forty years. This mode of speech is so far removed from our daily discourse that it sounds like it comes from Mars. And that's the intention. It forces one to pay attention. It takes time and patience to get used to such talk, but after a little, the unusual diction begins to make sense: it fits Green's symmetrical compositions of objects in space and the stillness that permeates all his films.

As to pretentiousness, no. Green is, if anything, modest in his insistence that there is another way, albeit one that appears wildly impractical in our materialistic present. True, his characters incarnate types that reflect ideas which he has been developing, especially since 2001, in print and on film. True, to embody an idea is to be a bit odd. Certainly this approach takes us off the beaten track. However, for those of a particular temperament, that's all to the good.

It is not the fault of an English-speaking audience, when they are unfamiliar with Green's ideas. He writes in French, as did Julian Green and Samuel Beckett. However, unlike these latter two, his books have yet to be translated from French into English.

Meanwhile, Green's movies aim for evocation. There are no car chases, no shootouts, no femme fatales, no sound-bite dialogues, no CGI, no enhanced sounds, all of which can be entertaining. Instead, there is a universe of the imagination and a particular sensibility that would have us put down our smart phones for a long moment, take a deep breath, look around, and 'regard' (recall that this word comes from French and there lies its meaning) the person sitting across from us. That is to say, to be in the moment, not becoming, but being. After all, 'becoming' will take care of itself. Being, on the other hand, is sometimes missed altogether.


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