Italy
For a director obsessed with the decadence of Italy’s most powerful, Loro feels like the film Paolo Sorrentino was born to make.
Sergio Leone compiled everything great about Westerns in Once Upon a Time in the West, and created as distinctive an entry as the world had ever seen.
As a work of storytelling, Guadagnino’s reimagining of the canonical giallo is a boring mess with higher thematic aspirations than it’s able to realise.
Two reviews of films from the Lavazza Italian Film Festival, Loro by Paolo Sorrentino and Boys Cry, a gangster film from the D’Innocenzo Brothers.
Though easily levelling with The Wonders in terms of visual quality, the lack of investment leaves Happy as Lazzaro a rather transitory collection of charming anecdotes.
Nico, 1988 from director Susanna Nicchiarelli respectfully marks the 30th anniversary of the late singer’s death while attempting to restore a little of her legacy.
Can we work together to find a solution? It’s a reality that needs further acknowledgement, and It Will Be Chaos does an admirable job of giving us perspective and bare-boned stories of resilience and courage.
Italian-American filmmaker Jonas Carpignano has shown in only his second feature, A Ciambra, to be one of the most empathetic social realist filmmakers working today.
Redoutable is an irreverent take on the biopic that gleefully flips the bird at its subject, and takes delight in making him conform to a conventional narrative of the type he grew to detest leading to some of the finest moments of cringe comedy in recent memory.
The Music Of Silence lacks emotional weight, developed characters, a coherent linear story, and sufficient enough acting to make a passable biopic of a living legend.
Running in at just 15 minutes, Penalty’s unique style of cinematography and editing make it a powerful piece of cinema.
Hollywood is not the only city to leave a lasting mark on the world of…
I Was a Dreamer is a mostly successful biographical film about a man seeking redemption, unique for having its lead character play himself.
In Suspiria, Argento’s use of space, lighting, vivid colors, grandiose set pieces, and Goblin’s score create a masterclass in suspense and subliminal terror.
Michelle Sabato, an Italian American herself, takes a closer look at The Godfather, and what “family” means to Italian Americans.