In 1867, with Garibaldi’s forces close to bringing Rome into the Italian kingdom, Monsignor Colombo da Priverno, a world-weary judge on the papal court, wants to resign, disgusted by the violence to which the papacy resorts to hold secular power. That night, three rebels blow up the Zouaves’ barracks. Colombo learns that a brief liaison with a countess 20 years’ before produced a son, one of the rebels arrested for the bombing. He uses his influence to gain the youth’s release, hides him, and then engages in doomed battles of wit with the court and with the Black Pope to free the other two. Can this priest be a father, blunt power, and live out his faith?
Tag: ITALY
The film shows the history of the Neapolitan popular revolt against the invading Germans during World War II. During the four days in Naples, the revolt turns over in just a few hours. Neapolitans slung on rifles and guns or armed themselves with stones, house-objects, gasoline-bottles, anything and everything, anonymous and silent. Gennarino Capuozzo, a 10-year-old killed on a barricade while he was fighting against the invaders, is remembered as a hero.
A re-interpretation of the myth of Ulysses, the symbol of a man eternally torn between nostalgia for his past and a desire for discovery, between fear and enchantment, which, for Piavoli’s hero, is above all an enchantment with nature. The language of the film, invented using a mixture of Greek and ancient Mediterranean dialects, becomes a symbol of this ancestral wandering.
A doctor removed from the order for euthanasia is called by a man to help his son depressed since the suicide of his girlfriend. But in the handbag of the deceased, an undeveloped film is discovered by the doctor who decides to investigate the alleged suicide of the young woman.
A cross between video art and television documentary, this is a portrait of British choreographer, dancer, actor and mime artist Lindsay Kemp. The spectator gets to know him through an heroic myth, where the actor searches for his identity in the show business world, and must face stouthearted true lies for a biographical portrait between fiction and reality.
In 1939, Charlotte Salomon leaves Berlin to seek refuge at her grandparents’ villa in the south of France. A little later, war breaks out, and Charlotte must, besides forgetting all she left behind, deal with her grandmother’s depression, and her mother’s suicide. To fight despair, Charlotte starts to paint, producing over one thousand images. “Is my life real, or is it theater?” This is the title she gives her body of work, which highlights her former life in Berlin. She finds herself though her art, but in 1943 is deported to Germany and Auschwitz.
In 19th-century Vienna, composer Franz Schubert struggles with poverty and unfulfilled ambitions while finding solace in music and friendship. His bond with a devoted pupil brings warmth and inspiration, though his personal life remains marked by sacrifice and melancholy. The film blends melodrama with musical interludes, offering a romanticized portrait of Schubert’s final years.
Il Ladro di Bambini begins in Milan, where Sicilian siblings Rosetta, 11, and Luciano, 9, live with their destitute mother. The woman regularly prostitutes Rosetta and is arrested; her children are immediately made wards of the court. Carabiniere Antonio Criaco is assigned to escort them to a foster home in a mission that appears to be simple. Yet, years of abuse forbid the siblings to trust, obey, or even like Antonio. Rosetta is hostile and demanding; Luciano is sullen and remote. When the Catholic foster home will not accept the children on the grounds of Rosetta’s past, Antonio independently decides to bring them south to a home in Sicily.