Martin Eden struggles to rise above his destitute, proletarian circumstances through an intense and passionate pursuit of self-education, hoping to achieve a place among the literary elite.
Based on the namesake book, the movie follows Peppino, an old hit man in a '70 Naples, forced to come back in action by the murder of his son. This tragic event also arises reflections on life and on the society in all the characters.
Director:
Igor Tuveri
Stars:
Toni Servillo,
Valeria Golino,
Carlo Buccirosso
Deputy Police Superintendent Francesco Prencipe is on his way to meet his best friend, Judge Giovanni Mastropaolo, which he hasn't seen for almost two years. That morning the judge is found... See full summary »
Christian is an extremely talented as well as unpredictable football player. After his latest screw-up, the president of his team decides to assign him a personal tutor, to help him in ... See full summary »
Director:
Leonardo D'Agostini
Stars:
Stefano Accorsi,
Andrea Carpenzano,
Massimo Popolizio
A policeman intent on freeing a crooked businessman from a prison on Gomera, an island in the Canaries. However, he must first learn the difficult local dialect, a language which includes hissing and spitting.
Italy, 1952. The young official Furio Momenté is sent to Veneto region, near Polesine, to investigate a shocking and mysterious case: a minor has in fact killed one of his peers claiming to have killed the devil himself.
Director:
Pupi Avati
Stars:
Gabriel Lo Giudice,
Filippo Franchini,
Cesare Cremonini
Alice, a single mother, is a dedicated senior plant breeder at a corporation engaged in developing new species. Against company policy, she takes one home as a gift for her teenage son, Joe.
Giovanni Montinaro, son of Judge Giovanni Falcone's chief of security, strongly opposed the film, criticizing the choice of releasing it on the anniversary of the murder of his father and of the others involved in the attack. He let it go when Pierfrancesco Favino told him that the date was chosen by the production precisely as a way to pay homage to Falcone, his wife and his security detail, killed that day in 1992. See more »
I liked it. Although certain events of the so-called "Second Mafia war" took place, between the
1981-83, have been changed and rightly accelerated due to the film's rhythms (for istance the death of Salvatore Inzerillo is set in 1982 and not 1981 and is little bit different about how he was killed). Bellocchio has been able to discreetly direct a film that is not at all simple and above all with a character as a protagonist absolutely not easy to manage.
Favino is certainly the strong point of the whole film, with a really intense acting from beginning to end. So much has fallen well in the shoes of Buscetta that sometimes seems to see and above all feel the real Don Masino. The Maxi-Trial of 1986, shot among other things in the Palermo's bunker room, the same where the real historical juridical process took place is certainly the point that entertains the viewer the most. The comparison between Calò and Buscetta is truly faithful to what was really there, the same thing the scenes with the other Pentito, Salvatore Contorno, the scenes when he speaks fluent sicilian slang are really similar with the original deposition, but having proposed with other realism also other salient moments with the other defendants was really classy. Perhaps the film falls just in the act after the Maxi-Trial and following the 1992's Massacres (Capaci and Via d'Amelio) , when going towards the conclusion by now the same Buscetta becomes precisely more and more "invisible" and without anything more particularly interesting to reveal.
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I liked it. Although certain events of the so-called "Second Mafia war" took place, between the 1981-83, have been changed and rightly accelerated due to the film's rhythms (for istance the death of Salvatore Inzerillo is set in 1982 and not 1981 and is little bit different about how he was killed). Bellocchio has been able to discreetly direct a film that is not at all simple and above all with a character as a protagonist absolutely not easy to manage.
Favino is certainly the strong point of the whole film, with a really intense acting from beginning to end. So much has fallen well in the shoes of Buscetta that sometimes seems to see and above all feel the real Don Masino. The Maxi-Trial of 1986, shot among other things in the Palermo's bunker room, the same where the real historical juridical process took place is certainly the point that entertains the viewer the most. The comparison between Calò and Buscetta is truly faithful to what was really there, the same thing the scenes with the other Pentito, Salvatore Contorno, the scenes when he speaks fluent sicilian slang are really similar with the original deposition, but having proposed with other realism also other salient moments with the other defendants was really classy. Perhaps the film falls just in the act after the Maxi-Trial and following the 1992's Massacres (Capaci and Via d'Amelio) , when going towards the conclusion by now the same Buscetta becomes precisely more and more "invisible" and without anything more particularly interesting to reveal.