Bringing the best of Italian cinema to US theaters.
‘Open Roads’ Trailer: Film At Lincoln Center’s Italian Cinema Showcase Celebrates 25 Years [Exclusive]
The 25th anniversary edition runs May 28 through June 4, with 15 features, nine North American premieres, and a Roberto Rossellini tribute.
Rome’s Cinema in Piazza Is Back, It’s Free, and the Guest List Is Absurd
Thom Yorke, Léa Seydoux, Isabella Rossellini presenting “Casablanca,” “Twin Peaks” every Friday night, and a Safdie retrospective. Fondazione Piccolo America’s 12th edition is not playing around.
Isabella Rossellini to Receive Locarno Excellence Award as Swiss Festival Lauds the Icon as “Joyfully Unconventional, Consistently Brilliant”
“Virtually synonymous with artistic daring and technical excellence, Rossellini has long fused the technical brilliance of Hollywood with the European spirit of artistic fearlessness.”
‘The Last One for the Road’ Sweeps Italy’s David di Donatello Awards, Winning Eight Statuettes
Francesco Sossai’s sophomore feature “The Last One for the Road,” which launched from Cannes’ Un Certain Regard, is the big winner of Italy’s David di Donatello Awards, the country’s top film prizes.
Francesco Sossai’s ‘Last One for the Road’ Sweeps Italy’s David di Donatello Awards
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The road movie, which premiered in Cannes’ Un Certain Regard last year, won 8 trophies, including for best film and best director.
The Last One for the Road Review
On a superficial level, Francesco Sossai‘s “Last One for the Road” is about a boozy car trip with small-time criminals who are old and broke, sometimes pensive, but mostly still living for the moment. They are in an oxymoronic perpetual search for another “last” drink, life as a perpetual bar crawl. But beneath that is an existential story that is a less bleak and more scenic version of Samuel Beckett’s Waiting for Godot, a psychological journey about connection, regret, memory, and meaning.
Magnanimous!
Luchino Visconti’s 1951 comedy Bellissima is “a case study in maternal obsession, a comic opera with nonmusical solos, and a satire of the Italian movie industry,” writes J. Hoberman in the New York Times as a new restoration opens today at New York’s Film Forum. Anna Magnani delivers “a Pirandellian meta performance” as a working-class mother determined to get her young daughter cast in the lead role of a film director Alessandro Blasetti is setting up at Cinecittà. “Bellissima likely inspired two younger directors, Federico Fellini and Michelangelo Antonioni, to address the film industry in their movies The White Sheik (1952) and The Lady Without Camelias (1953),” notes Hoberman. “Neither delved as deeply as Visconti and Magnani into the nature of acting.”
Visconti’s ‘Bellissima’: Mama’s Going to See to It!
“Bellissima,” at Film Forum through May 7 in a new 4K restoration, is a case study in maternal obsession, a comic opera with nonmusical solos…
