A very specific short documentary about one of the thousands of stories that characterised the Rolling Stones. At times funny and dreamy, Stones in Exile is mostly recommended for true fans of the band.
A pleasant family story whose fairytale magic is combined with the magic of the setting. Generally very good actors, especially the very young protagonist. The moral, almost 30 years after the film was made and more than 60 years after the novel was written, is as relevant as ever.
If you want Polish discomfort, that's what you get. Inni ludzie is a deliberately exaggerated social drama, which unabashedly criticises the evolution of modern society. A set narrative and a noir aura, accompanied by some rapped Fabijański appearances, make this film a rather atypical but highly interesting product.
A romantic drama in the countryside of 1980s France, Les Magnétiques is a great debut in French independent cinema. Vincent Maël Cardona succeeds with a remarkable direction in tackling the evergreen unease of youth. A shared love, rural discomfort, and military service accompany the protagonists in a film that, despite the simplicity of the story, is anything but banal. Keep an eye on the director and the lead actors.
A cheap comedy with no rhyme or reason, poorly acted, and remotely funny. Absolutely avoidable.
An interesting documentary dealing for the first time on the big screen with the life and vicissitudes of Poly Styrene's cult character. Perhaps for the sake of completeness, the film lacks pace and is rather long. But in spite of this, it is a must-see for lovers of punk and complicated existences.
A tender and joyful little animated film for children, which is also a cuddle for adults. Un Disfraz para Nicolas is a product that contains no particular innovative elements in its story. The narration is in itself very simple, with the classic characters of children's stories as protagonists. What stands out, however, is the choice of the main character, a child with Down Syndrome, masterfully dubbed by a real child with the same condition. Finally, the animation feature is again a winner for its simplicity.
An incredible creative outlet with an exceptional cast. L'ultimo capodanno is a unique, misunderstood, and underrated product of Italian cinema. A worthy heir to pillars of the grotesque such as Fellini and Ferreri, this film is a must-see of 90s cinema.
Soldati - 365 all'alba is the first 'serious' attempt to bring Italian military service to the big screen. Marco Risi, at his first experience with a dramatic feature film, manages to demonstrate great care and mastery as a director. The result is an excellent product, excellently acted, that stands out in his filmography and has little to envy the great Hollywood productions of those years. Soldati - 365 all'alba deals with very uncomfortable themes, including hazing, to the point of being deliberately shortened into a less controversial version. It is therefore highly recommended that you seek out the full version of the film.
In this film, Marco Risi tackles an atrocious story of men on the edge of the primordial. Inspired by a real event, and unfortunately not particularly isolated, Il branco is a film that leaves a bitter taste in the mouth. Not at its peak, Risi could have aimed higher. The subject lends itself to being much more impactful. All in all, a discreet attempt that is often worth the time.
Following in the footsteps of many Italian and French directors of the time, Marco Risi tackles the theme of European expatriates in tropical countries. The film has a clear intention, but with an equally inconclusive result. The rhythm is broken up, the actors are left in performances that are far from their potential and the screenplay is inconclusive. Unfortunately, an utterly forgettable product.
Il muro di gomma recounts on the big screen one of the blackest and never resolved pages of Italian history. Marco Risi proves once again that he is capable of tackling dramatic cinema with talent and refinement. He does so while maintaining an excellent rhythm and great acting. Corso Salani's performance is particularly good, for the first time in a leading role.
An enjoyable film that recounts and recalls the horror of Cosa Nostra's clue period of criminal activity in Palermo. A product to appreciate with low expectations, this first experience as director of Pif still shows some important acerbities. The acting, in particular, leaves something to be desired. Nonetheless, it is a valid product for a large audience, especially with the intention of raising awareness of issues too often forgotten in the mainstream.
An excellent social drama that leaves you with acid in your stomach. Masterfully directed actors, excellent set design and a good soundtrack. A great product of Italian independent cinema. That's it.
Yet another low-budget product of the 'great' Italian independent cinema. Once again the social criticism of rich villains with neither skills nor talents. If not that the subject has been treated infinitely better in previous decades and that the story is of a disarming banality, painful dialogue, actors (potentially good) are directed in a ridiculous way. Dear Virzì, go back to doing what you were appreciated for in your early days and leave this stuff alone.
Benvenuti in casa Gori is a film that deals with tired topics in a highly ambiguous way. A drama with comic intentions that makes one neither laugh nor cry. The narrative rhythm is shattered and tends to make everything rather boring. Apart from the occasional amusing sketch, it is a work that leaves one really uncomfortable. Probably only Tuscans can appreciate it.
A demential comedy typical of the years in which it was filmed but of far higher quality than its peers. In his directorial debut, Marco Risi proves that he is capable of making a light-hearted film that doesn't lapse into boorishness like many of his colleagues of the time. There are many amusing sketches for those who are open to viewing the film in an unpretentious manner.
Glory is the first and only film to bring to the big screen the incredible story of the 54th Massachusetts Infantry Regiment during the American Civil War. It does so with the support of a great cast, great cinematography and fine attention to detail. An unconvincing Broderick seems to suggest that Robert Gould Shaw was not a particularly outstanding man for command. Yet the evidence for this seems to say just the opposite. Generally a more than good film. But some brave director might try his luck and bring the story back to cinemas to give it further honour. The potential is still very high.
Free State of Jones is a film that tells an almost unknown precious story of American history. Gary Ross decides to deal with the episode with a strongly cinematographic imprint, sometimes to the detriment of the realism with which he tells the historical period. In spite of this, he generally succeeds very well in his intention to enhance it. The broken narrative and a slight lack of grit, however, do not give that extra touch that would have allowed the film to reach a higher level. In any case, it is still a very good product.
A semi-sentimental drama framed in the crude world of porn. Ferrario's intention to link the taboo of pornography (in this case uncensored) to the challenges of everyday life is brave and commendable. The result, however, is less so. Appreciable (for fans of Italian underground music) are the cameos with Giorgio Canali and Officine Schwartz. All in all, a film that is worth watching, but not more than once in a lifetime.
Let me preface this by saying that I am not familiar with Maradona's history as I am anything but a football fan. I really appreciate Marco Risi as a director, but this film, despite having the clear claim to be aimed at a general audience, given the scale of the subject matter, left me with little other than biographical hints about the famous footballer. Generally questionable actors, a rambling pace and a general perceived emotional detachment of the director from the content make Maradona - La mano de Dios an utterly forgettable film. The bar has probably been raised a little too high here.
A light-hearted, enjoyable comedy, typical of the secondary Italian cinema of the years in which it was filmed, Tre mogli is a cinematic product to watch on a carefree evening without having to give in to frivolity. Nothing more, nothing less.
I didn't know Charlotte Le Bon as an actress and ended up on this film somewhat by chance. But I must say that occasionally relying on luck has its merits.
Falkon Lake is a film with a very personal aura, which in being a drama appears in its own way (despite the apparent contradiction) to be almost a caress. The encounter between two teenagers with a marked sensitivity, which in a summer of unwilling holidays leads them to the discovery of new feelings, new emotions, new experiences. On the surface, a simple story, but the uncomfortable context of first romantic experiences is anything but trivial when told by the right hands.
Charlotte Le Bon signs her premiere with this first directorial effort with finesse but decisiveness, almost like a poem. Credit to the two very young leads, impossible not to be charmed by their exceptional acting dexterity.
Pulling the rope of populist sentimentality on the big screen at a certain point risks snapping. And the sound of the thud is likely to be very similar to a ‘plof’ from when you're sitting in the potty. An embarrassing attempt to emulate staggered historical films that retrace epochal events in Italian history as immense directors have done in the past. Nothing more, nothing less.
Muccino, do us a favour: extinguish yourself.
An unflinching drama set in the suburbs of a Glasgow almost deprived of identity, My Name Is Joe is an icy bath in a bitter cocktail. Ken Loach in this mid-career film once again reinforces his position as one of the most interesting directors in British auteur cinema. He does this by daring with actors who were far from renowned at the time, such as an exceptional Peter Mullan (whose acting in this film will become his most acclaimed part) and some totally unknowns such as the splendid Louise Goodall. The icing on the cake is the choice of having some locals play supporting roles, often immersed in the harsh reality of the real-life context put on screen. Absolutely recommended.
With his never trivial touch, Soldini remains tied to the challenges of modern society and this time tackles the difficult subject of sentimental betrayal. He does so this time with his dramatic approach, maintaining a small but uncomfortable tension in the viewer from the beginning to the end of the film. Alba Rohrwacher and Pierfrancesco Favino remind us in this film that they can be excellent leads if they are directed by the hands of a master.
In this mid-career film Soldini once again tackles themes dear to him related to the creaking of values in contemporary society. Giorni e nuvole deals with the crisis of work and the family, with the classic sensitivity that distinguishes the director. A good Antonio Albanese and an excellent Margherita Buy keep the bar of the acting level in line, which is unfortunately not always excellent.
Muck on video has a very specific face in Italy and this film is yet another testimony to it. I ended up watching it by pure chance as the poster and the short presentation looked interesting. I must say that I couldn't tear myself away from it out of curiosity to see where it was going... Do I regret it? No, because every now and then I need to remind myself what happens to most of the funds for culture taken from my taxes.
A first-grade script, a Giuseppe Fiorello caricatured to the point of being pathetic and a morbid emphasis on unmotivated drama destroy the potential of an enjoyable film that could have focused solely on the story of the protagonist, Fatima. Instead, no, the director (from whom I will make sure to stay well away in the years to come) decided to overdo it and with a tremendously irritating presumption. A missed opportunity on all fronts.
Yet another jewel of Silvio Soldini's unique and simple sensibility, Le acrobate is a film centred on the delicate but decisive female perspective of its protagonists. A script that leaves no room for premonitions, excellent actresses and an Italy of the late 1990s crossed from north to south make it a more than valid film product of Italian independent cinema to be rediscovered.
Written by Massimo Troisi, who also stars along with his legendary sidekick Lello Arena, No grazie, il caffè mi rende nervoso is a pleasant poliziottesco comedy that plays on Neapolitan stereotypes. Demented at times, but never stupid, the film delivers moments of great fun including precious scenes of Troisi testing his bodyguards by faking a kidnapping, Arena awkwardly attempting to interview a nervous James Senese, and always Arena trying to escape on the subway to an old classmate of his intent on reattaching relations. A must-see for fans of Troisi and Arena.
