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COMIZI D'AMORE - (Pier Paolo Pasolini, 1964)
A 4-part investigative film on the theme of love and sex in Italy in the 1960s, commented and produced by Pasolini himself through a number of interviews with men and women of all ages from all over Italy.
Using the collaboration of intellectuals such as Alberto Moravia, Giuseppe Ungaretti and Oriana Fallaci, Pasolini makes a film of neorealist, national-popular and eucumenic cut that proposes: in the eyes of contemporary historians, as a very interesting sociological document; in those of cinephiles, as an exceptional event of cinéma-vérité; and to mine (as to all the admirers of the great Italian artist-philosopher), as an example of the combative civil passion of the director.
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Katharsis - Beksinski art movie [HD]
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ALICE IN DEN STADTEN - (Wim Wenders, 1974).
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Sulla Francigena da San Quintino.
5 Agosto 2018. Presenti 5: io, Turi, Barone, nuovo amico e Giovanni. Lasciate le auto a San Quintino ci siamo avviati verso Sud. Dove la strada incrocia la Via Francigena abbiamo incontrato 3 ragazze “pellegrine” che erano dirette verso Gambassi e abbiamo proseguito con loro per un bel tratto fino al bivio per Meleto; da qui, siamo tornati indietro. Bella giornata di sole, molto calda ma senza il rischio tafàni. Percorsi circa 7 Km in un’ora e mezzo. r.m.
Alcune foto:
Sulla Via Francigena.
Tre “pellegrine” liguri.
Barone e le nostre compagne di viaggio (per un poco).
La Via Francigena.
La campagna toscana.
In cammino
Rudere
Paesaggio d’Agosto.
In cammino.
Sulla via del ritorno.
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Marthe Beraud demonstrates a “light manifestation” between her hands and a strange materialization upon her head; 1912.
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ISABELLE HUPPERT
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IL MULINO DEL PO - (Alberto Lattuada, 1949)
The film is set at the end of the nineteenth century, in a village in the Po Delta where the workers' struggle against the rich landowners supported by governmental forces will end up overwhelming the love story between Berta (Carla Del Poggio) and Orbino (Jacques Sernas)... Lattuada uses, modifying some aspects, a good part of the great novel of the same name by Riccardo Bacchelli eliminating any fatalistic-providential (or Manzoni-an) motif and instead accentuating some dramatic aspects of the first peasant class struggle born of modernization. But, above all, the director focuses on his popular protagonists underlining the merits (sense of family, dedication to work...) and the defects (greed, pride...) of each of them and succeeding, at the same time, to balance the historical fresco and the melodrama so as to give the story that "epic and moral value" that was blatantly missing (for example) in Bertolucci's film "1900". One of the best movies of its genre and Lattuada himself.
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CAPRICCIO ALL’ITALIANA - (VV.DD., 1968) - Episodio n. 4 “Che cosa sono le nuvole?” di Pier Paolo Pasolini.
It’s the story of Shakespeare’s “Othello” revisited by a group of puppets. The last movie of the great Totò.
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Mariangela Melato in "Film d'amore e d'anarchia . Ovvero 'Stamattina alle 10 in via dei Fiori nella nota casa di tolleranza... " (Lina Wertmuller, 1973)
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LA GUERRE DES BOUTONS - (Yves Robert, 1962).
We are in the French province. After the lessons, the "caimans" of Longeverne commanded by Robert, and the "hawks" of the nearby village of Velrans (headed by "Mane), challenge each other in a juvenile (but serious for them) "war": the prisoners are cut buttons and suspenders to unleash the punishment of the parents.
For this reason, once the "caimans" fight naked (but it is too cold), another time Robert drives his "troop" on the back of a horse, while "Mane" uses his father’s tractor to destroy the enemy’s hut.... (I stop here).
The film (a blockbusters in France and generally acclaimed worldwide) has now become a small classic of French popular cinema; making the most of the innate sympathy of the little protagonists, (Michel’s line: "If I knew I wouldn’t have come" became proverbial) the film avoids putting in the foreground the easy sentimentality of childhood and (thanks to a constant attention to a concrete everyday country life) reveals: "a very happy anchorage to reality and concreteness" (Lourcelles). And, even today, I remember with pleasurable regret those instructive discussion among children on the republican values of equality and smile to the unforgettable proposal to "close the prisoner in a cave; then we all go there and fart so it becomes a gas chamber"....
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THE WICKER MAN - (Robin Hardy, 1973)
A fascinating, disturbing, one-of-a-type British "distopic" movie I consider a shocking masterpiece of the horror (in a broader term) genre. A movie everybody should see.
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Monica Vitti and Alain Delon in "L'eclisse" (Michelangelo Antonioni, 1962).
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MEDEA - (Pier Paolo Pasolini, 1970)
Maria Callas in three stills of Pier Paolo Pasolini's philologic essay (about the contrast between the peasant and the urban civilization and the wastes of the loss of the sacred) from the Euripides' tragedy. The movie should have been (according the director's words): ".. the almost montruous mix of a philosofic tale and a love plot" and it is really very good and stimulating despite I found a little weakness in the too much didactic way in which PPP illustrates the differences between the two types of civilizations (and really the Centaur speaks -symbolically- too much time). But thanks to the magnetic presence of Callas who adopts "body and soul" a character she knew very well (through the lyric opera of Cherubini) the viewer is able to grasp the sense of fatality and horror of the Greek myth.
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Jean Vigo and Dita Parlo on the set of “L’Atalante”, 1934.
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GLORIA GRAHAME
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