* Black&White *

Highly innovative avant-garde flick by Jean Epstein, adapted from a Paul Morand's novel. The plot is almost irrelevant, just an excuse to experiment with camera virtuosities and new narrative styles. A surprising modern 45 minute film, which anticipates, by many years, the nouvelle vague.

Surreal and evocative silent horror by Jean Epstein - one of the most influential exponents of French Avant-garde - who drew inspiration for this from some Edgar Allan Poe's short stories. Mesmerizing aesthetic work, pervaded by spooky and oneiric atmospheres and a sense of oppressive anxiety, due to the frequent use of close-ups, slow motions, superimposed images, light games and other particular techniques that distort the bodies of characters and move the objects present in the film without touching them. Warmly recommended if you are into silent and/or experimental cinema.

A wonderful and rare 1934 silent film from the Soviet Union, set during the early days of the Bolshevik Revolution. The story is focused on the misadventures of Khmyr' - a wretched peasant, constant victim of thieves, tax collectors, soldiers and priests - and the desperate pursuit of his own happiness.
'Schastye' is surprisingly bizarre and modern for its time. It waves between folklore and futurism, fairy-tale and socialist satire, comedy and drama, and really entertains with its surreal moments and incredible characters. Essential viewing for anyone with an interest in Russian film and history.

This is the last film by the Japanese filmmaker Sadao Yamanaka, directed in 1937, before he was drafted in army and sent to the Chinese front, where he died of illness at the time of 29 years old. In spite of his young age, he had managed to make more than 20 films. 'Humanity and Paper Balloons' is one of the three Yamanaka's works luckily survived.
A period piece that goes against the tendency to idealize the image of samurai. Anti-heroic and realistic, it talks about human feelings, everyday life and personal tragedies. It's the tragicomic portrait of a feudal society in 18th century Japan, far from glorious myths, where the poor lower-class men try to survive among indifference, crimes and abuses.
Elegant, minimalist and visually impressive masterpiece.

One of the first and funniest examples of neorealist comedy, featuring an amazing Aldo Fabrizi.
This is a popular, sincere and at times grotesque portrait of the vices and virtues of the lower middle-class in 50's Rome. With satirical humor and overwhelming rhythm, director Blasetti and writer Zavattini give us not only a really brilliant comedy plenty of exhilarating moments, but also a great life lesson. A post-war gem.

The intense drama of a woman, deeply anchored to old traditions, whose moral values seem in contrast with the fast socio-economic changes in Japanese post-war society, more and more influenced by western culture. A minimalist and elegant, yet engaging 50's piece of work, beautifully shot by Mizoguchi.

An unforgettable portrait of the misery and the social degradation in post-war Italy. A heartbreaking story of old age, loneliness and human indifference, perfectly told by the master of Italian neorealism Vittorio De Sica. But also a story of dignity and hope.
Minimalist, crude and intense masterpiece, with splendid music and photography.

Italian neo-realism meets American film noir in Fellini's darkest work. Brutal and socially poignant tale that would deserve more attention. In particular, the beautiful cinematography, the great performance from Brod Crawford and the mesmerizing final sequence, left me literally breathless.

It's curious how the first official Italian Horror ('I Vampiri', 1956) started life as a bet of the filmmaker Riccardo Freda who wagered with two Italian producers that he could shoot a film in only two weeks. Well, he won since 'I Vampiri' was finished in just 12 days. Actually, Freda left the set after ten days due to a dispute with the producers, and the movie was completed (and probably modified) in two days by Mario Bava, who worked here as director of photography and creator of the special effects.
The result is a fascinating and atmospheric horror movie, inspired by the case of the bloody countess Elizabeth Báthory, which melts the classic gothic elements, with some elements of giallo and science-fiction. Not a real masterpiece but an important and pretty innovative work, that should be seen and remembered not only for being the milestone of the horror genre in Italy but also for its qualities, especially the incredible set design by Beni Montresor and the stunning black and white cinematography by Bava. Not to mention the great performance by the beautiful Gianna Maria Canale, perfect in the role of the cold-hearted evil duchess, obsessed with eternal youth. One negative point is surely the corny ending imposed by the producers, who also censored some dark and gothic parts of the Freda's screenplay. Damn! By the way, I love this flick.

De Sica gives us his strongest performance in this intense and unforgettable Rossellini's drama set during the German occupation of Italy.

The 'Paths of Glory' of Italian Cinema.
A monumental masterpiece that draws the viewer deeply into the tragedy of WWI, and in particular into the hell of the trenches on the Italian front. In a tragicomic tone, the story follows the adventures of a odd couple of coward soldiers (Gassman - Sordi), trying to survive by avoiding at all costs the battlefield, who finally turn into unintentional heroes. 'La grande guerra' is not a tale of heroism and bravery though. In a winning combination of drama, irony and real horror, this is a successful attempt to show the true feelings and fears of ordinary men and deal with the absurdity and contradiction of war.
Realism and historical accuracy, objectivity and absence of rhetorical accents add value to the beauty of this work. Unique and perfect in every aspect, 'La grande guerra' is one of the finest (anti) war movies I've ever had the pleasure of watching.

'Un maledetto imbroglio' is one of the first examples of Italian crime film and one of the most brilliant of the genre. An intriguing story, set in a late 50's Rome presented as chaotic and hypocrite, full of ambiguous characters, fears and violence. It mixes the mystery and the intricate plot peculiar to classic crime drama with some elements of Italian comedy, like humor and social satire. Although the complex tangle of characters and stories, the movie is fluid and involving from beginning to end. Particularly remarkable is the solid performance by Pietro Germi, director and lead actor, who magnificently plays the role of the classic detective - cynical, irascible and solitary, yet sensitive and ironic.

Not the typical gangster movie, 'Salvatore Giuliano' (1962) is a precious document following the criminal career of the infamous Sicilian separatist and bandit Giuliano, the lives of those involved with him and the mystery around his death in 1950, at the age of 27. It also cleverly explores the controversial relations between the brigandage, the independentist movement, the mafia and the local police in post-war Sicily.
Perhaps not easy to follow due to the non-linear narrative structure and the slow-paced first part, the film is still an authentic masterpiece, a beautiful and powerful combination of Art and History. By far, the most ambitious effort from Italian master Francesco Rosi.
Despite a couple of forgivable small inaccuracies, the story told here is very faithful to the biographical and historical facts. The use of the exact locations where Salvatore Giuliano lived and operated along with his band, plus the participation of non-professional actors - many of whom had actually experienced the events of that time - give the film more power and realism. The only two professional actors in the entire film are Salvo Randone starring as a judge and American actor Frank Wolff who's incredibly believable in the role of Giuliano's cousin and right-hand man Gaspare Pisciotta.

A classic not to be forgotten!

First leading role for G.M. Volonté, whose character was loosely inspired to the real life of Salvatore Carnevale, a Sicilian trade unionist who sacrificed his life to fight against Mafia and defend peasant rights in the 50's Sicily. Not Taviani brothers' best effort, but still a brave, passionate, committed work.

Not your typical Hammer Horror - there's no blood, no monster, no virgin in danger - but it's certainly one of the coolest and most impressive films from the British studio. Here we have an ingenious and atmospheric B&W suspense thriller about greed and paranoia, with lots of twists and turns, a beautifully dark cinematography and, above all, a very young and slim Oliver Reed in the role of a charming psycho. Fun guaranteed!

Splendid portrayal of a young woman and her dreams. An underrated masterpiece from an underrated director.

Koji Wakamatsu, one of the independent directors with the worst reputation in Japan, took inspiration from a real event - the Chicago massacre in a nurse home in 1966 - to talk about life and death, love, sexuality, misanthropy, violence, madness. Everything in this film is portrayed from the killer's point of view and is contextualized in a Japan marked by social and political tensions. 'Violated Angels' is extremely dark and morbid, without lapsing into vulgarity though. It immediately captures the viewer's attention, not only for it's strong contents, but also for the almost poetical and nightmarish style, the cold black and white which changes to color in only two powerful scenes, the hypnotizing images and score. Hard to watch, provocative, with complex and subtle meanings.

Torture and convict, humiliation and power, sex and death are curiously amalgamated in this almost mystical experience from outrageous Japanese master Kôji Wakamatsu.
Delirious and allegorical.

My rating might change once i get to see the last few mins of the film, which I missed!

"People are frightened by what they don't understand" - John Merrick

Sort of love letter to Roberto Rossellini from daughter Isabella and tribute to his art, often misunderstood and forgotten by most. This is a splendid extravagant docu-short, shot in a dreamlike black and white, directed by Guy Maddin and written by Isabella Rossellini, who also plays herself, the voice of her father and some other cinematic personalities, including Selznick, Fellini, Hitchcock, Chaplin and her own mother Bergman.