My Favorite Movies

One of the first Italian detective movies ever made. Political thriller but also psychological and surreal drama, it's probably the best in its genre. In a grotesque way, director and writer Elio Petri perfectly portrays the political and social contest in 70's Italy, period of violent civil demonstrations and heavy repression by authorities.
At the centre of the movie is a gorgeous Gian Maria Volonté, who plays the f*ckest fascistoid and schizoid policeman ever seen on a screen. His omnipotence delirium is such that, after having committed a crime, intentionally leaves clues everywhere just to prove he's an untouchable citizen above suspicion. Volonté in his most intense and charismatic role!
The film is also remarkable for the original screenplay by Petri with Ugo Pirro and the amazing score by Ennio Morricone.

Besides being one of Fulci's finest moments, this is also one of the best gialli ever made in Italy. An atypical thriller, located in the warm and sunny rural lands of Southern Italy, which shows how ignorance and superstition can lead to ridiculous prejudices and nonsense acts of violence.
A very impressive, realistic and often provocative film, that leaves you holding your breath till the end. An interesting plot, a gorgeous soundtrack (by Riz Ortolani), some intense scenes and cult actors (Bolkan, Milian, Bouchet, etc.), make this movie a true must see, not only for Fulci fans. See the uncut version, possibly!

Perhaps Bava's most personal, intense and original film. In spite of a very low budget and limited available means - substantially, an overcrowed car and a road - this is a pearl in his filmography.
Dirty, amoral, crude and nihilistic 1974 crime movie, which never fails to involve and surprise, especially considering that it takes place almost entirely inside a moving small car, where a young woman, a man and his sick child are held hostage by a trio of sadistic psychopathic criminals hard to forget (Dottore/ Doc, Bisturi/Blade and Trentadue/Thirtytwo, played respectively by Maurice Poli, Don Backy and George Eastman).
'Cani arrabbiati' is an electrifying and claustrophobic 90 minute ride to Hell, told in real time and soaked in unpredictability, psychological violence, black humour, surreal dialogue, fast pace and increasing tension.

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.

A masterpiece of visionary Horror from the poet of gore Lucio Fulci, and in my opinion the best chapter of the trilogy.
Once again, the story is not one of the most original (witchcraft, gates of hell, ghosts, zombies) and numerous are the references to other authors (Henry James, Lovecraft, Artaud and Argento), but Fulci can astutely mix these elements and bring them to the screen with a personal and original style, creativity and technique.
As often in his movies, the script is not perfect and not much linear, but it doesn't matter since the director prefers to surprise with imagination, macabre atmosphere, surreal images, voices and whispers, extreme close-ups and spectacular splatter effects. This time, we have the "pleasure" of watching a man tortured and crucified to the wall, bodies dissolved in acid, an exploding head, a killer dog, flesh-eating tarantulas... However, the gross and extreme gore effects combine with the refinement and accuracy of cinematography, sound and direction. The whole is crowned by a magnificent and apocalyptic ending.

Absolutely brilliant!!! It's hard to describe a movie like this, so complex, powerful, ambiguous and visionary. It mixes violence and cruelty with moments of romanticism and melancholy. All is ambivalent and confused.
Park brings to the screen a dark story of obsessive and inexorable vengeance, which conceals a secret sin. A secret revealed slowly, until the shocking ending...touching and terrifying ending!

The first work in the Fulci 'Trilogia della Morte' (which also includes 'The Beyond' and 'The House by the Cemetery') is surely the most extreme and disturbing among the three.
A tale of curse and living dead, with Catholic connotations, which takes its inspiration from Lovecraft, Poe and Romero. A cool mix of dark, foggy and claustrophobic atmospheres with some crude, sometimes disgusting, gory effects, that leave no space for imagination: we have drilled heads, brains ripped out, eyes crying blood, bowels vomited out, maggot storms, people buried alive... A feast for the eyes for gore fans!
The story is quite incoherent and without a logic, but it takes a back seat to the creepy, delirious and visionary atmosphere. The amazing cinematography and scenery with some gothic elements, the rough but effective special effects and the gruesome make-up, plus the suggestive score by Fabio Frizzi, make this movie one of the best Italian horror cults. Keep in mind that everything was made with a really small budget.

Miike Takashi is a brilliant wacko who enjoys torturing psychologically his viewers and this psycho-horror is one proof!

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

A modern western. Strong, violent, intense, harsh, silent, cynical, irrational.
One of the best films of the Coen Brothers, maybe their finest one for the form!

Great 80's b-movie! It's a mix of alien invasion, zombie action and teen comedy, but above all, it's a fun tribute to the horror genre: from 50's Sci-fi to more recent scary films. Several evident references, some good splatter effects, alot of hilarious quotes and comic situations make this film really enjoyable. And Tom Atkins is matchless!

Amenábar makes his debut writing and directing a very interesting low-budget thriller.
In a clever and original way, he deals with an extreme subject, such as snuff-movies. Urban legend or reality? In a more general sense, this film is a reflection on the cult of violence in our society. How media celebrate it and why people feel repulsion and, at the same time, are attracted to scenes of violence and death.
Little Big Film. Simple, realistic, suspenseful, involving.

This grotesque noir concludes "The Vengeance Trilogy" of Park Chan-wook. As Oldboy and Sympathy for Mr. Vengeance, it's a tale of revenge and sin, that this time turn to redemption and purification. Less strong and original than Oldboy, but nevertheless another electrifying and visually impressive masterpiece. Darkness, violence and perversion are still present, but are portrayed in a more refined style. The creativity of this director is truly surprising: I fell in love with his film from the first frame.

This sort of bizarre "documentary" about the St. Petersburg's Hermitage is a magnificent tribute to European Art. An oneiric and aesthetic travel through Russian history and culture, where past and present melt together. In a single take that lasts 90 minutes, camera moves through the sumptuous corridors and the vast halls of the Museum. While visitors are contemplating the works of Raffaello, Rembrandt, Canova, Van Dick and Tintoretto, historical characters continually appear and disappear from the scene.
A "difficult" but surprising and hypnotizing film, with a beautiful metaphoric ending.

'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.

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.

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.

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.

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.

Classic Soviet horror, based upon the homonymous novel by Nikolai Gogol. A fairy-like and folkloristic tale of witchcraft, demons, possession and Russian myths, with a remarkable visionary ending, full of simple but effective special effects.

One of the strangest and craziest love stories I've ever seen on screen. A funny black comedy and a great performance by Maggie Gyllenhaal.

A clever and genuine comedy, full of references and symbolism. Loosely based on Homer's Odyssey, it tells the journey (in this case, the escape from a prison) of a modern Ulysses across the Southern U.S. during the Great Depression. His country is not Ithaca, but a little town in Mississippi. His beloved wife doesn't wait faithfully at home, but she's going to marry another man. "Polyphemus" is an unsuspicious member of the KKK and the "Sirens" seduce by offering forbidden whiskey.
In a comic vein, this film tells the hard conditions around this time, like poverty, racism and segregation, bank robberies and penal colonies.

One of my favorite Coen movies, with an original and hilarious plot, funny soundtrack, great direction and, above all, gorgeous cinematography.

A classic giallo rich in innovative and highly experimental ideas, either for the technical aspect or for the development of plot. The murder scenes, characterized by acrobatic camera movements and memorable close-ups, are truly well-done. The plot is very intricate, but flowing and exciting, and psychologically well thought out. Truly suspenseful and fascinating. Tenebre is one of the most violent and bloody Dario's films: razors, daggers, axes and even paper as murder weapons, used against a dozen victims. Nevertheless, the murders take place in the daylight, or anyway in very bright places, in an unusual Rome, aseptic and almost futuristic. Plus, irony is often present in the dialogues and in several situations.
Definitely one of the best works directed by Dario Argento, assisted by Lamberto Bava and Michele Soavi, who also have a cameo in the film.

Italian-style comedy par excellence. Ugo Tognazzi, the supreme artist of 'supercazzola', is here at his best!

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

Damn fascinating existential drama, that takes place in the Turkish community in Hamburg.
German-Turkish director Fatih Akin successfully brings us a brutally powerful story of immigration, love and self-destruction. Although I found the ending a bit weak in comparison with the adrenalinic and electrifying first part of the film, I consider 'Gegen die Wand' a unique, modern masterpiece.

This is the story of Maria, a young Italian-Argentinian teacher, living in Buenos Aires, who's politically active against the military dictatorship in the late 70's. Kidnapped and taken to an illegal prison called Garage Olimpo, she's then cruelly tortured in order to extort a confession from her.
In the largest sense, this is the story of thousands of desaparecidos who, for political reasons, were secretly put in hidden prisons, tortured and killed.
With 'Garage Olimpo' (1999) first, then with 'Figli/Hijos' (2001), Italian-Chilean filmmaker Marco Bechis revisits the most painful chapter in Argentina's history. Bechis himself, grew up in Argentina and at the age of 20 was arrested and taken prisoner in a concentration camp for some days.
His film is intense and brutal like a fist in the stomach. It perfectly evokes the atmosphere of horror, without using violent scenes though, and touches the viewer in a deep and natural way, without falling into easy sentimentalism or excessive dramatization.

A provocative and controversial 1971 movie written and directed by Elio Petri, better known for 'Investigation of a Citizen Above Suspicion', who distinguished himself by his socially and politically engaging cinema. This film is a bitter and satirical portrait of the hard working-class life in 60's-70's Italy , among exploitation of factory workers, inhuman conditions, continual strikes, political clashes, general hysteria and alienation.
In comparison with 'Investigation', 'The Working Class goes to Heaven' is less technical and aesthetic, but more sincere and realistic; the ironic and grotesque tones are still present, though.
Once again in a Petri's work, the music is composed and directed by Ennio Morricone and the leading actor is Gian Maria Volonté, who superbly plays another extreme character. In this case, a neurotic, passionate and logorrheic worker, on the border of madness, who is first a real stakhanovite, and then a rabid activist.

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

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.

A paltry budget didn't stop this from being one of the highest peaks of Italian horror cinema. Pupi Avati offered us an unique piece of work, rather different from the average giallo and considered a cult for its insane storyline and the morbid, delirious and sometimes claustrophobic atmosphere. The foggy and suggestive locations, placed along the canals and the lagoons of the Po delta, contribute for sure to the success of the film.
'La casa dalle finestre che ridono' is a tasteful, creepy and hypnotic gothic-thriller, where the horror is showed in a vaguer form, less definite and therefore more terrifying. There is not much violence, just some twists and some genuinely eerie scenes. The tension slowly increases until it explodes in the astonishing ending.
The whole is supported by an original, well-constructed screenplay and a dry direction. Some flaws don't diminish the value of this weird gem at all. On the contrary, they make it even more entertaining.
Possibly my favorite 70's "giallo" behind 'Profondo rosso' and 'Non si sevizia un paperino'.

"- Chello ch'è stato è stato... basta, ricomincio da tre..
- Da zero!...
- Eh?...
- Da zero: ricomincio da zero.
- Nossignore, ricomincio da... cioè... tre cose me so' riuscite dint'a vita, pecché aggi'a perdere pure chelle? Aggi'a ricomincià da zero? Da tre!"

Troisi's excellent debut behind the camera.

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.

This is an astonishing example of Iranian neo-realism, inspired by some autobiographical experiences of director Naderi. Emotional, powerful and visually fascinating.

Joe D'Amato makes his horror debut with this great homage to Gothic fiction (Poe and Le Fanu in primis). He gives us a creepy mixture of mystery and eroticism, filled with some well-made graphic violence and oneiric atmosphere. It's a bit slow and confusing at times, but remains extremely intriguing and stylish.

"Come vedi sono tornata... E sono tornata per te!"

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.

Watching this film was a pleasantly unpleasant experience for me. Rather disturbing but fascinating and deep, cruel and tender at the same time, both dreamy and grotesquely real. A British jewel not to be missed!

One of Sergio Martino's finest efforts. An original, suspenseful and sexy adaptation of Poe's The Black Cat, filled with the typical ingredients of a 70's giallo.

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.

Four of the great Italian masters direct a compelling cast in this funny and colorful anthology of four satirical tales inspired by Boccaccio's Decameron, that take place in 1960's Italy and explore a range of social, moral and sexual themes.

Episode 1: Renzo e Luciana - by Mario Monicelli, with Marisa Solinas and Germano Giglioli - Sober and socially poignant: **** (4 stars)

Episode 2: Le tentazioni del dottor Antonio - by Federico Fellini, with Anita Ekberg and Peppino De Filippo - Provocative and bizarre: **** 1/2

Episode 3: Il lavoro - by Luchino Visconti, with Romy Schneider, Tomas Milian and Romolo Valli - Elegant and intelligent: **** 1/2

Episode 4: La riffa - by Vittorio de Sica, with Sophia Loren - Entertaining and sexy: ****

"Todo modo para buscar la voluntad divina..."

Beyond the surface of a claustrophobic and dystopian political thriller, in 'Todo modo' (1976) we can find the harsh accusation that director Elio Petri made against the most important political party ever founded in Italy: the Democrazia Cristiana (DC). He put in evidence its ambiguous relationship with the Catholic Church and denounced the corruption and thirst for power of a party that had been ruling for over 30 years - from the 40's to the 70's.
Despite the dream-like narration, this visionary work offers an effective and substantially realistic vision of the dark side of my country. Maybe less solid than other masterpieces by the same director such as 'Indagine su un cittadino al di sopra di ogni sospetto' and 'La classe operaia va in paradiso', 'Todo modo' may be hard to follow because of the puzzling plot and the many metaphors. However, there's no doubt this is a great piece of art, a funny satire and one of the more illuminating political movies coming from Italy.
Unforgettable are the characters played by Volonté, Mastroianni and Ingrassia, as well as the solemn score by Morricone and the odd scenery by Dante Ferretti. Petri was a genius and a true classy filmmaker!

Freely adapted from Leonardo Sciascia's homonymous novel, the film was easily the main inspiration for Sorrentino's 'Il divo'.

Taisto has almost nothing: no money, no family, no friend. The coal mine where he worked has closed down and he can only count on his white Cadillac with no roof to travel from Lapland to Helsinki in search of a new job and a new life.
The second installment in Kaurismäki's 'proletariat trilogy' (including 'Shadows in Paradise' - 'Ariel' - 'The Match Factory Girl') is a satiric mixture of social commentary, road movie and crime drama. A tragicomic portrait of life's incongruities, with an eye to people living in the margins of society.
I was totally captured by the gritty realism and the black humor of this little, yet so tasteful and stylish piece of work. The plot and dialogue are simple but incisive and charming in a weird way. The ingenious use of soundtrack and cinematography alone makes the film interesting. If you're looking for something different and fresh, or if you're just curious to listen to 'Over the Rainbow' sung in Finnish, then check this out!

Scorsese recommends Gomorra:

http://www.thedailybeast.com/blogs-and-stories/2008-10-13/mob-mentality

Me too.

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!

Brilliant and faithful reconstruction of the last heist committed by the 'Banda Cavallero' and their infamous getaway through Milan's streets in Fall 1967. Shot in an experimental and semi-documentary style by Carlo Lizzani (here at his best), the film is an unconventional, very intense and realistic crime drama filled with exciting action sequences, though not lacking in social commentary or psychological development of the characters.
I have no words to describe the greatness of Volonté playing the egomaniac lead bandit Pietro Cavallero, who used to rob banks as an act of rebellion. For this performance alone, he would deserve a monument!
'Banditi a Milano' is one of the many unfairly forgotten jewels from 60's Italian cinema.

a.k.a. 'Adventures of Electric Rod Boy'

Pre-Tetsuo cyberpunk oddity, in which Tsukamoto introduces some of the cinematic techniques and basic themes that would be developed and refined in his later, better-known work. It's a medium-length underground film created with a paltry budget and limited resources, but full of creativity, innovation and fun. Mandatory viewing for fans of the director!

"Il potere logora chi non ce l'ha" (Power wears out those who don't have it) - Giulio Andreotti

Rather than Andreotti, the true 'divo' here is Paolo Sorrentino. His film is a triumph of style and elegance! With rare skill, he brings us into the life of one of the most influential and enigmatic personalities in Italy's recent history. More than a biopic, this is an ironical and smart satire about political power and its ambiguities, personified by 7 times Prime Minister, currently Senator for Life, Giulio 'Il divo' Andreotti. A spectacular and detailed, yet grotesque and caricatural portrait of a powerful politician, cynical and detached man, accused of corruption and collusion with the Mafia, but still admired by many for his charisma, his exceptional culture and sagacity.
Sorrentino's work is enhanced by a great cast, led by Toni Servillo (Divo Giulio) - who's proving himself to be the most talented Italian actor of the moment - and including a number of fine if little known actors like Anna Bonaiuto (Andreotti's wife), Flavio Bucci (Franco Evangelisti) and Carlo Buccirosso (Cirino Pomicino dancing cracked me up!)

"Where is truth? Where does the theater end and life begin?"

Jean Renoir's delightful homage to Theater and, in particular, to Commedia dell'Arte. A feast for the eyes and ears thanks to the sumptuous use of color, costumes and Vivaldi's music.

Considering that "La doppia ora" is Giuseppe Capotondi's directorial debut, the film was a surprising revelation for me. It's not easy to find a modern giallo so good nowadays and I enjoyed it MUCH more than other acclaimed recent Italian thrillers such as Tornatore's "La sconosciuta" or Molaioli's "La ragazza del lago". This work has the advantage of an excellent cast (Timi and Rappoport are amazing together), an innovative and fresh direction and a solid, involving screenplay mixing contemporary noir, psychological drama, giallo, a bit of romance and some elements of horror. I know it may sound like a mess, but I assure it works very well.

Filmed by the students of the Universidad del Cine de Buenos Aires, 'Moebius' is a low-budget sci-fi gem that also happens to be one of the most suggestive, mentally stimulating and meaningful math-related movies I've ever had the pleasure to sit through. The captivating and extremely believable if fictional plot is a clever, subversive metaphor for Argentina's recent history, with all its fears and ghosts.
Visually and technically, despite the limited resources at hand, the film is pretty impressive too.

A splendid supernatural fairy-tale, rich in eerie and gothic atmosphere, with some genuinely creepy moments, fascinating characters and beautiful landscapes. After many years since "La casa dalle finestre che ridono" (1976) and "Zeder" (1983), Pupi Avati finally returns to the horror genre in 1996 with a unique and magical story of esotericism, religion, evil and death that's based on local believes and legends.
Rather slow but visually stunning and perfectly directed, "L'arcano incantatore" is a fine example that horror cinema can often be a very subtle art-form... Not a film for fans of Saw XIV or Halloween XXII, I guess.

"We'd mistaken dusk for dawn; we thought we were the new partisans"
"I feel the weight of every killing. There is a legal, political and moral responsibility. I accept all three"

- Sergio Segio, "Commander Sirio" of the armed communist organization Prima Linea -

***
Here's an honest and brave journey into Italian terrorism in the late seventies that well portrays the gap between ideology and practice in extremist groups like Prima Linea, whose young members lost their humanity and sense of reality to fight "in the name of a better world".
Directed by Renato De Maria and produced by Andrea Occhipinti along with the Dardenne brothers, this is one of the smartest and most objective works that deals with the delicate subject matter. There isn't any romanticism here, any character fascination or identification, just a ruthless realism. Maybe not a perfect film, stylistically very simple, but it's a very important and emotional one.

'La prima linea' is also remarkable for some terrific action sequences and powerful performances from Riccardo Scamarcio and Giovanna Mezzogiorno, in the roles of the two group's leaders and lovers.