LAVAZZA ITALIAN FILM FESTIVAL 2008
The Lavazza Italian Film Festival 2008 will screen over 20 new Italian films as well as a retrospective of films from the archive of the Cinecitta studios in Rome. The festival will run at specific dates between 17 September and 23 November in Sydney, Melbourne, Brisbane, Perth, Adelaide and Canberra at Palace Cinemas.
Visit: http://www.italianfilmfestival.com.au/
Last updated 12 October, 2008.
WE ALL LOVED EACH OTHER SO MUCH (1974)
The major retrospective for this year’s Italian FF is a collection of 12 films from the archives of the Cinecitta Studios in Rome. Ettore Scola’s marvellous film, which won the French Cesar for best foreign language film in 1975, is a grand tale of three friends who fought together against the Nazis in 1944 and continually revisit each other over the ensuing 30 years. Vittorio Gassman, Nino Manfredi and Stefano Satta Flores play the intrepid trio whose love lives, career journeys and political views intersect over this time. Shot in both black and white as well as colour, and featuring other noted actors like Stefania Sandrelli and Aldo Fabrizi, the film reflects the turbulent social and cinematic history of Italy as seen through these three friends’ lives. Film buffs will appreciate the extended sequence recreating Fellini’s shooting of the fountain sequence in La Dolce Vita, with Fellini and Marcello Mastroianni appearing in this recreation. There is also an enjoyable quiz show sequence where the shooting of DeSica’s The Bicycle Thieves becomes an object of great debate. Scola, whose other films include The Family and the masterful Le Bal, brings a great deal of humanity to his film characters while at the same time deftly portraying the political and social milieus that his characters inhabit. Rarely seen, this festival provides us with an opportunity to view a major film of the 1970s. (Peter Krausz)
CARAVAGGIO
Michelangelo Merisi, who became known as the important Baroque painter Caravaggio, had a short, turbulent life in Italy in the late 16th and early 17th Century, dying at the age of 38. His reputation for brawling as well as his association with the rougher elements of Rome and elsewhere, have contributed to a good understanding of this highly regarded artist whose work was commissioned by many, including the Pope. His use of models, many of whom were from the lower socio-economic strata, both hindered and helped his career, especially when mixing with the upper echelons of society. His life has been depicted in three noteworthy fictional films (and in many documentaries). The first was in 1967 in a film produced as a mini-series for Italian television, which has largely sunk without trace. Then Derek Jarman in 1986 directed a version of Caravaggio’s story, speculating on the sexuality of the painter and his association with criminals, the poor and other less well-regarded elements of society. However, the film focused on his fine artwork and the brilliance of his paintings, and to some extent his sexuality. Last year, a two part mini-series for Italian television was produced as the supposedly definitive portrait of the artist and his life and times. Angelo Longoni’s three-hour biopic was edited to 130 minutes for international release, and it is this version that we are seeing in this festival. To say that this edited film with 50 minutes excised is largely an abomination is putting it mildly. The film’s narrative construction seems to move forward in fits and starts, with major sequences lacking motivation or explanation as to how particular scenes would have occurred. The injudicious editing also mutes any impact Caravaggio’s story would have on the audience’s understanding of his character, as we are presented with contradictory, incomplete or inconsistent thematic elements, especially in his dealings with the Papal Court. Despite Vittorio Storraro’s fine widescreen cinematography, the film’s dialogue and narrative construction occasionally seem at odds with the use of locations. It is quite unclear as to what really motivates Caravaggio and why certain events occur in the way they are depicted. What is worse is that the film lurches from incident to incident usually without showing the pre-disposing events that got us there. Luis Baclov’s somewhat repetitive music score seems truncated at times, and overly elaborate at others. Alessio Boni does his best to portray the artist but is saddled with a script that rarely rings true for the period, and provides him with extreme emotional responses that are quite jarring. Why we weren’t able to at least see the complete film is a mystery. As it stands, this is a major disappointment of the festival. Avoid it and see Jarman’s film instead. (Peter Krausz)
CARDIOFITNESS
Sexual relationships with children seem to be the flavour of the month amongst some filmmakers. The release of Towelhead, Alan Ball’s challenging film about a 13 year old Lebanese girl and her treatment by her father and others, is both challenging and disturbing. Ken Park, still banned inappropriately in Australia, focuses on the sexual exploits of teenagers, while Thirteen and Hey Hey It’s Esther Blueberger, in a similar vein to Towelhead, look at young teenage girls and their sexual awakening. Sorry If I Call You Love, in this festival, looks at the sexual relationship between a 35+ year old man dumped by his girl-friend, and his affair with a 17 year old high school student. Cardiofitness reverses the sexes, as the film explores a 27-year-old woman’s sexual relationship with a 15-year-old schoolboy. Leaving aside the dubious moral issues attached to this and the other films mentioned, Fabio Tagliavia’s debut feature plays like a jaunty romp without exploring any of the issues it raises beyond the superficial. Nicoletta Romanoff plays a writer who is smitten by the lad at the local gym. With the cajoling of her best friends she establishes a relationship with the boy, played by Federico Costantini, whose passion for baseball turns to sex. Apparently based on a novel, the film plays like a television romantic comedy/drama, with the conclusion somewhat surprising which will lead to audience debate. A better filmmaker would have explored the more complex moral issues the narrative raises. (Peter Krausz)
WILD BLOOD
The role of the artist during politically difficult times has been explored by a number of filmmakers, including Istvan Szabo in his masterful film Mephisto, which delved into the way an actor was used as a political pawn during the Nazi era. Indeed many German actors had to compromise their ideals in order to work during World War 2; and those who did were often identified as Nazi collaborators or sympathizers afterwards. Marco Tullio Giordana’s superb evocation of the true story of two Italian actors who appeared in a number of fascist films during WW2, is a fine example of the complex socio-political relationship between artistic freedom, problematic circumstances and the need to compromise. Giordana’s similarly superb Best of Youth, which featured at a previous Italian FF, demonstrated his ability to tell a well-layered story convincingly. Wild Blood centres on Monica Bellucci and Luca Zingaretti, who play the two renowned theatre and film actors Luisa Ferida and Osvaldo Valenti, who are caught up in fascist politics in the late 1930s through to the 1940s. Luisa’s relationship with the gay director who makes her a movie star, as well as the resistance movement that was part of the politics at the time, combine to make a consistently compelling film, despite its 150 minute running time. The careful recreation of the period, and the cleverly constructed dialogue, reflect the power of Mussollini and his control over all aspects of Italian life. This is all finely handled by Giordana and is one of the best films of this festival. Not to be missed. (Peter Krausz)
VALZER/THE WALTZ
It is very gratifying to see films at a film festival that take risks, and challenge the audience to respond to a more complex style of narrative. The Waltz, directed by Salvatore Maira, is a carefully assembled tale set at a Turin hotel. Maira is not afraid to play with time and space as the story centres on a hotel maid whose various encounters lead to evolving revelations about an ex-con’s search for his daughter, the lives of her two fellow co-workers, a group seeking to manipulate a television audience as well as rigging sporting results, and the issues facing her supervisor. What sets this film apart is the fluid, continuous steadicam as it moves from room to room, while at the same time evoking events that occurred previously, in a seamless, “waltz-like” style replete with background music to assist the rhythmic visuals. Somewhat reminiscent of Bela Tarr’s seminal Werckmeister Harmonies and the cinematic style of Brian de Palma’s camerawork in his films, The Waltz is ultimately an excellent, intricate film, particularly for the risks it takes, its politics, its treatment of the audience in a non-patronizing way, and the downbeat conclusion. Highly recommended. (Peter Krausz)
DAYS AND CLOUDS
The prevailing social and economic ramifications of globalization, unemployment, and the rapidly changing labour market, have been explored by many films, including Time Out, about an unemployed executive who cannot tell his family about his circumstances, and The Axe, Costa-Gavras’ satire about an unemployed engineer eliminating his competition for work. This theme has been picked up here by Silvio Soldini (Bread & Tulips, Agatha & The Storm) as he explores the lives of a middle-aged upper middle class couple whose life is thrown into disarray when the husband loses his executive position and the wife is forced to leave her art restoration unpaid work in order to find employment to keep the family finances going. Margherita Buy and Antonio Albanese play the fraught couple, demonstrating in microcosm the impact that global social change is having on many people in communities around the world. Their relationship with their adult daughter, workmates, friends and others is revealed as their plight gradually worsens, and they are forced to sell their home, as well as coping with ageism and unemployment, and the need to re-evaluate their lives, goals and dreams. Underlying this compelling narrative, which has a docu-drama feel to it, is the trenchant criticism of contemporary capitalist economics that creates winners and losers, and how work can be difficult to achieve depending on age, background and opportunities available. The two lead actors are superb in their depiction of the impact forced life change has on them, with a strongly melancholic and sympathetic tone, especially by the film’s conclusion. An excellent social-realist drama, not to be missed. (Peter Krausz)
RIPRENDIMI/GOOD MORNING HEARTACHE
This is a curious film that seems quite unclear as to what it is trying to say to the audience. The premise of the film is that a couple of filmmakers set out to make a film about being a “temp” actor (a bit like actors who go from job to job uncertain whether there will be a job), and how that affects their lives. After discovering a couple with a child who fit the requirements, the two filmmakers decide to concentrate on them and their evolving relationship. The film then turns into a docu-drama style film on their lives together and separately, which eventually involves the filmmakers themselves. Hence the dilemma the audience now faces is trying to understand what is actually being portrayed here. Is it a satire on reality/documentary programs, or a comment on the way documentaries are constructed, or a drama about contemporary relationships with the media getting in the way? The film falls between all these stools and doesn’t satisfactorily represent or resolve any of these ideas adequately. Anna Negri’s film is thus a mélange; an exercise in manipulation and constructed dramatics that doesn’t quite gel as a cohesive narrative. Indeed the film cheats the audience, as the quasi-reality aspects of the story seem forced and phoney at times. A disappointingly unfocused film. (Peter Krausz)
AT A GLANCE
This dreary and thoroughly predictable pot-boiler purports to be a thriller about an art critic, played by Sergio Rubini (who also directed the film), who sets out to manipulate the lives and affections of his former female companion and her new boyfriend, an aspiring sculptor. As the plot develops, an elaborate scheme is hatched by Rubini to win her back by providing exhibition opportunities for her boyfriend and then orchestrating a series of events leading to her capitulation. What is so uninspiring and predictable about this film is the simplistic and overtly melodramatic elements introduced into the narrative that defy any verisimilitude with situation or character, thus making the whole thing seem extremely artificial and contrived. Pino Donaggio contributes a typically excellent music score, but it is for the wrong film, as his previous work with Dario Argento signifies his reputation with far better filmmakers than Rubini. The conclusion to the film is both facile and quite laughable, which a thriller of this nature cannot sustain. Very disappointing. (Peter Krausz)
BLACK & WHITE
A contemporary Italian twist on the inter-racial issues faced by two people, this well made drama by Cristina Comencini (Don’t Tell), tells the tale of two married couples, white and black (the latter from Senegal), where the white husband begins a passionate relationship with the black woman. All sorts of dramatic issues occur once the affair is discovered, but what sets this film apart is the interesting way it explores racial stereotypes on both sides, and eventually turns into a personal drama of attraction and societal attitudes, leading to a somewhat surprising resolution. Comencini knows how to move a story along, yet keep in touch with her evolving characters, so that the film’s narrative remains convincing throughout. The film also explores the underlying causes of prejudice and the way that bigotry may not necessarily be firmly entrenched. An enjoyable romantic drama overall, that is also quite audience pleasing, with a pointed message. Recommended. (Peter Krausz)
DON’T THINK ABOUT IT
This appears to be the only film of the festival attached to a distributor in Australia, and turns out to be a pleasant family comedy/drama about a 30+ year old musician who returns home to his rural-living family to discover all sorts of issues, skeletons in the closet and emotional baggage. As directed by Gianni Zanasi, the film is a well-paced narrative, and features Valerio Mastandrea as a classic musician turned rock star whose career has taken a slump, so he decides to return to his family to reinvigorate his life. Instead what he finds is that the family business, a fruit-bottling plant is on the skids, and there are all sorts of revelations about his family that prove to be quite overwhelming. There are some nice elements to this film, with the accent on optimism and resolution, rather than wallowing in dramatic tension. Overall, a crowd pleaser, as well as a solid family comedy, about the virtues, rather than pitfalls, of family. Recommended. (Peter Krausz)
THE FEAST
Here is another film within a film scenario that actually works very well. Three young filmmakers are keen to make a documentary film about their local Calabrian town, Diamante. Of course, making this film is not easy, and to ensure when completed it gets a wider audience, a major star is required to be in the film. They visit Rome to shot some sequences at the Cinecitta studios and they meet Valerie Bruni Tedeschi, who just happens to be engaged to Gerard Depardieu. Eventually she convinces him to be in the film, and he arrives in time to be part of the banquet sequence for their film. Mimmo Calopresti’s endearing homage to the filmmaking process, as well as to the role of well known movie actors in marketing a film, plays out as an enjoyable comedy/drama. What is surprising is what happens during the filming of the banquet scene, which actually adds an air of piquancy to this clever film. Highly recommended. (Peter Krausz)
HER WHOLE LIFE AHEAD
The opening night film for this year’s festival turns out to be one of the least interesting, and most annoying, of the festival. Subtlety is not this film’s long suit as the film deals with a young woman employee (played by Isabelle Ragonese) of an excessively manipulative Call Centre, whose dreams as a University graduate to work in her chosen field are thwarted. Instead, she finds work in this Call Centre that seems to live life in a highly competitive, musically orientated, over the top, way. Clearly, the director Paolo Virzi, intended to make a biting musical satire about this industry, and contemporary life for young people in Rome. However, the film is so loosely structured and somewhat disjointed, and embellished with a number of irrelevant fantasy dance sequences (which Dennis Potter would I’m sure disavow), that by the end, this 100-decibel film fails to work on any level it tries to establish. Mixed into the plot are supposed satires of reality shows and motivational psychology, that only add to the frenetic lifelessness of the scattergun plot. Quite disappointing. (Peter Krausz)
LA SCONOSCIUTA/THE UNKNOWN WOMAN
Giuseppe Tornatore’s films have attracted considerable acclaim due to his exploration of childhood experiences and their resulting journeys leading to an emotional catharsis. In Cinema Paradiso and Malena, Tornatore captured the essence of this psychological state, and developed narratives that would evoke a strong emotional response in the audience. For his latest film, made in 2006, and unlikely to achieve commercial distribution, Tornatore uses a thriller approach with strong visceral elements to portray the story of an obsessed woman seeking retribution for past misdeeds, with childhood a key driver of this utterly compelling film. The film establishes a gradually unfolding mystery about this Eastern European woman whose previous experiences force her to find a family that may harbour an important secret to her existence. Kseniya Rappoport plays this tough woman impelled to revenge the treatment meted out to her as a prostitute, with the plot developing in ways that occasionally lead to some startling and quite brutal scenes. The film’s production levels are at a high level, and combined with another great music score from Ennio Morricone, leads to a challenging film for the audience, with enough clues throughout the film to leave the conclusion as a surprise. Noted actors Angela Molina, Margherita Buy and Michele Placido round out a strong cast. One of the best films at this year’s Italian FF. Not to be missed. (Peter Krausz)
LESSONS IN CHOCOLATE
Italian Cinema has a strong history of knockabout comedy and social farce dating back to the films featuring Toto, Fernandel and a string of other comedy performers. This film follows in that tradition, particularly for its predictable, if pointed, comedic view of a shonky builder, whose cost-cutting creates a workplace accident for an Egyptian labourer. In what becomes a cultural and employment satire, the builder, played by Luca Argentero, has to learn how to become a chocolatier in order to fulfil the Egyptian’s dream of winning a contest and opening a Patisserie. A whole range of amusing scenes occur based on this set-up, including a raft of observations of a romantic and cultural nature about the differences in Italian and Egyptian life. Directed in a fast-paced manner by Claudio Copellini, this audience-pleasing comedy, with some astute observations about the Italian economy and its regional differences, is a good, if mostly superficial farce. Worth a look. (Peter Krausz)
ME, THE OTHER
Many filmmakers have used the 2001 9/11 terrorist attacks in the USA as a basis for dramatic re-evaluation of America’s role in various countries and the concomitant xenophobia that arose within the US. A simple tale of two fishermen friends in Sicilian waters, one of whom is Tunisian, forms the basis of this thriller with a Dead Calm and Knife in the Water edge to it. Directed by Mohsen Meliti, the film’s pointed sub-text about cultural differences and the paranoia gripping the world after 9/11 is played out as a tense two-hander by Raoul Bova and Giovanni Martorana. Despite the schematic nature of the narrative, this is a well developed film leading to a pointed conclusion. Recommended. (Peter Krausz)
IL DIVO
Breathtaking in its political and cinematic vision, Paolo Sorrentino’s epic depiction of the former Italian Prime Minister and current member of Parliament, Giulio Andreotti, is an incredibly complex series of scenes delving into this man’s background. Sorrentini goes to great pains to provide the context for the politics in this film, and in true docu-drama approach, introduces the audience to a huge array of key players involved with Andreotti and the way they shaped the investigations which recently concluded, exonerating Andreotti. The film’s premise is that he was part of a cascading series of Mafia and left-wing political plots to eliminate Government critics and improve his own financial, as well as political, power. Yet, no court has ever convicted Andreotti of corruption, and remains an enigmatic figure by the film’s conclusion. The brilliant steadicam widescreen cinematography adds to the cinematic treatise composed by Sorrentini, as part documentary, part Godfather style crime drama, and part political satire and analysis. Tom Servilio plays Andreotti as a mostly emotionless political automaton, surrounded by willing players keen to have power and probably commit murders to ensure the unassailability of Government. You do not have to understand Italian politics to appreciate the magnificence of Sorrentini’s vision and intelligent unfolding of Italian politics in the 1980s and 1990s. Fanny Ardant, and a host of actors, portray key figures, clearly identified, throughout the film, with a nicely ironic ending to the story. The use of contemporary and classical music together with what appears to be actual locations of real events, adds to the enjoyment of this superb film. Winner of the Grand Jury prize at the Cannes Film Festival, this is one highlight of this year’s Italian Film Festival, which must not be missed. (Peter Krausz)
THE REST OF THE NIGHT
The cultural and social chasm that exists in contemporary Italy, particularly between Romanians and Italians, is subtly explored in this finely honed drama from Francesco Munzi. The maid (played by Laura Vasiliu of 4 Months, 3 Weeks, 2 Days fame) of a wealthy industrial family is accused of theft by the wife of the household. As events unfold, the maid is fired and seeks refuge with her former boyfriend just released from jail and his volatile younger brother. The lives of these two families intersect when an attempt is made to rob the wealthy estate as revenge for the unfortunate sacking. The film’s climax is both tensely directed, but also quite understated in its ramifications for all concerned, reinforcing the deep divisions that exist, and the culpability of both parties, which cannot be easily resolved. A fine film that will lead to some likely discussion by the audience afterwards. Highly recommended. (Peter Krausz)
L’ORA DI PUNTA/RUSH HOUR
Corruption in Italian society, a popular theme used by many filmmakers, comes to the fore again in this understated drama of the rise of a young tax official whose desire to seek a fortune and social respectability, leads to fraudulent acts. Michele Lastella plays the only son of a widow who has high expectations for her son. To fulfil this pressure, and with the support of a major tax investigator, he perpetrates a number of kick-backs and pay-offs in order to live the life that will satisfy his needs. Along the way he forms a relationship with a gallery owner, played by Fanny Ardant, who provides him with social connections and the ability to meet powerful business figures to increase his finances. The symbolic nature of this journey is quite apparent, although director Vincenzo Marra presents Lastella as a cypher rather than a fleshed out character. Nevertheless this is a fine depiction of incipient corruption seemingly endemic in Italy. Recommended. (Peter Krausz)
SORRY IF I CALL YOU LOVE
A man in his 30s, recovering from a relationship breakdown with his wife, begins a relationship with a 17-year-old school girl. Leaving aside the dubiousness of this under-age sexual relationship, the film is a typically predictable diatribe about the fantasy needs of a male for younger company. Lead actor Raoul Bova, seen to better effect in Facing Windows and Me, The Other, is saddled with a sketchy character created by director Federico Moccia with some offensive and manipulative elements to the narrative. Fortunately, the young woman is given some intelligence in her characterization, but the whole thing plays out like a male fantasy for an adolescent audience. Avoid. (Peter Krausz)
SPEAK TO ME OF LOVE
Noted Italian writer and actor Silvio Muccino (Manual of Love), turns his hand to directing with this film based on his own romantic novel about loss and redemption. Muccino plays a young man whose involvement in a car accident with an older woman leads to a mutual attraction, despite his interest in a young woman at his workplace. This romantic tale coloured by obsession, drug addiction and unrequited love, is a well-directed, if occasionally over-wrought melodrama, leading to the inevitable cathartic conclusion. The film takes an interesting turn at the mid-point when Muccini is inveigled into high stake poker games to repay a friend’s drug-fuelled loan. That the film reaches a satisfactory conclusion, tinged by tragedy, surprises as a number of elements in the film don’t quite gel. Worth a look. (Peter Krausz)
THE SWEET AND THE BITTER
The impact of the Mafia in Italy is revisited in this well-constructed drama about a young man’s involvement with the Cosa Nostro from the 1980s to the present. Luigi La Coscio, well known for his starring role in 100 Steps, plays the pivotal character with little sympathy, evoking the violence and terror associated with this organization. Director Andrea Porporati keeps the action moving while at the same time demonstrating the ease in which the Mafia was able to establish a stranglehold on Italian society and politics. In the last part of the film the central character reaches an epiphany that counterpoints the way Italian authorities have begun to control the effect of the Mafia. Recommended. (Peter Krausz)
THE VICEROYS
This politically allegoric tale of an Italian family descended from Spanish Viceroys, and their social struggle to gain acceptance and power from the 1850s to the 1890s is a stirring piece of cinema overall. Directed by Roberto Faenza, the film’s lush widescreen lensing and historical settings contribute to this melodramatic tale headed by patriarch Lucia Bose. His only son and heir, played by Alessandro Preziodi, forms the focus of this highly charged story which involves betrayal, murder, suicide and romance. The epic nature of the story, and the historic trappings, both work for and against the story, as the film is redolent with symbolism referring to contemporary Italian politics. As is typical of these sweeping sagas, the film uses bold brush strokes to underline the convoluted family tale, and is eventually both exhausting and challenging for audiences. Nevertheless, worth a look. (Peter Krausz)
THE GIRL BY THE LAKE
The impact the death of a young woman has on a small village in the Italian Dolomites forms the basis of this engrossing murder mystery that leaves the audience guessing until the very last frame. The naked body of a young woman is discovered by the lakeside with no obvious signs of assault. A city detective is called in to investigate this crime, with a number of possible suspects revealed as the investigation continues. Andrea Molaioli finely tuned drama balances this event with the development of the key characters in the narrative, finding a symbiotic relationship between deeply humanistic concerns and personal issues, combined with the reason for the death of this young woman. Tension is held throughout the film until the denouement which is both a sad revelation but quite appropriate to the multi-layered story. Toni Servillo is excellent as the police detective with his own personal issues that dovetail with the murder investigation. The film won numerous awards at the Italian Oscars (David di Donatello Awards) and at other festivals. Highly recommended. (Peter Krausz)
The plight of Italian Jews during World War 2 has rarely been dealt with by the cinema, with Vittorio de Sica’s classic 1970 film The Garden of the Finzi-Continis being the best known example. Veteran director Carlo Lizzani (The Hills Run Red, The Violent Four, Crazy Joe, The Last Days of Mussolini) has fashioned a compelling film based on the book by Marco Nozza, set at a luxury Italian resort in 1943. The possible capitulation of Mussolini to Allied forces established a false hope that the war was over, until the invasion of the hotel by a Nazi SS unit, headed by Commander Krassler, well played by Benjamin Sadler. Thus begins a series of events leading to the inevitable attempt to deport all the Jews at the resort to Concentration Camps, while the non-Jewish guests did little to interfere in these circumstances. The interesting variable in the narrative is the role a German woman plays in surreptitiously trying to help the Jews who have been rounded up and locked away in part of the hotel. Based on fact this is a compelling film leading to the inevitable tragic consequences, but demonstrating the uneasy political relationship between Italy and Germany, with the Allied powers attempting to drive a wedge between them. Although very much a genre piece, this is nevertheless a moving and tightly constructed film, and a good example of an effective co-production between Italy, Germany and France. Highly recommended. (Peter Krausz)