Search results for: Luchino Visconti

Within the omnipresent and overpowering narration guiding Barry Lyndon, a passage on the title character’s wife describes her as “not very much more important...

One of Alfred Hitchcock’s neglected masterpieces is his 1947 courtroom psychodrama The Paradine Case, the director’s last contractual obligation under David O. Selznick, which...

Criterion digs Bitter Rice out of obscurity this month, a pulpy mix of social drama and dime store pathos from director and screenwriter Giuseppe...

New adaptation of Death in Venice stresses the homosexuality angle to an offensive degree

Beginning July 28 and running until the end of August, Toronto's TIFF Bell Lightbox are complimenting their Fellini bonanza with a concurrent programme that spotlights perhaps the purest, most stripped down movement in film history: Italian Neorealism. For Fellini, La Dolce Vita signalled a gravitation toward his thematic and stylistic tendencies for excess and the fantastic; with later films like 8½ and Juliet of the Spirits dominating the canon, it is easy to overlook the more timid first decade of his career. The juxtaposition of Fellini's Double Bills with this showcase for Neorealismo serves not only as a logical contextualization for Fellini, but also it offers a chance to see rare prints of monumental Italian classics, many shipped straight over from Italy.