Bringing the best of Italian cinema to US theaters.
‘Duse’ Review: Valeria Bruni Tedeschi Radiates Feverish Luminosity in Challenging Historical Character Study
Pietro Marcello imagines the twilight years of legendary Italian stage actress Eleanora Duse in the period between World War I and the rise of fascism.
The 61st Chicago International Film Festival meets the moment
Italian director Carolina Cavalli’s The Kidnapping of Arabella (Il rapimento di Arabella) (2025) pairs a restless millennial with an eight-year-old runaway who may or may not be her younger self. “It is a coming-of-age [story], but it’s one that happens in reverse,” Gordon says.
‘Duse’ Review: Pietro Marcello Unleashes Valeria Bruni Tedeschi on a Torrid Portrait of a Prima Donna
‘Duse’ Review: Valeria Bruni Tedeschi Lights Up This Twilight Tale Of A Fading Italian Stage Legend – Venice Film Festival
‘The Last One for the Road’ Review: A Low-Key Journey Through the Venetian Countryside
Italian Director Ludovica Rampoldi’s Clandestine Romance ‘A Brief Affair’ Scores Slew of Sales Ahead of Rome Film Festival Launch (EXCLUSIVE)
Onslaught of Italian Movies Set to Hit Fall Festival Circuit, Signaling ‘Great Resurgence’ of Cinema Italiano
Seven Italian titles are set launch into North America from Toronto. Seven will be bowing into Asia from Busan. Four will screen at the New York Film festival, and six in London.
Julia Roberts Calls ‘After The Hunt’ NY Film Festival Opening A “Top 3 Great Achievement Of My New York Life”
NYFF: Nonfiction in the Main Slate – Below The Clouds
“For the most part,” writes Michael Sicinski at In Review Online, “the documentaries that have made Gianfranco Rosi’s reputation have a firm basis in geography.” Sacro GRA “explored life in Rome as circumscribed by the city’s major beltway.” Fire at Sea (2016), the winner of the Golden Bear in Berlin, “considered the refugee crisis by focusing on life on the island of Lampedusa, a nexus of Italian and indeed European asylum immigration. Rosi left Italy to make Notturno (2020), a film about life along the borders of Iraq, Kurdistan, and Syria, an area plagued with the presence of Daesh terrorists. And now, with Below the Clouds, Rosi has made his most complex, most poetic film, based in and around Naples, a city that exists in the shadow of Mt. Vesuvius.”
“Shot in black and white, with sweeping landscapes so spectrally luminous as to resemble silver gelatin prints, Below the Clouds brims with gloomy beauty,” writes José Teodoro for Film Comment. “Behold plumes of cinders, colossal cones of Ukrainian grain, Japanese archeologists brushing dirt from bone, films projected in an empty cinema, archivists exploring vast rooms of fractured statuary with only a single flashlight.”
