Venezia 71 – No One’s Child (Ničije dete)

Venezia 71 – No One’s Child (Ničije dete) The other is our open eye nightmare. Especially when it appears at first irreconcilable, distant, not reducible to us. It frightens us because as we look at it we are forced to come to terms with our deepest being. And the more monstrous it appears to us, the more it... Continua »
settembre 4, 2014

Venezia 71 – The Council of Birds (Zerrhumpelt Herz)

Venezia 71 – The Council of Birds (Zerrhumpelt Herz) Germany 1929. After receiving a letter from his friend and composer Otto Schiffmann, Paul Leinert leaves Berlin accompanied by his wife Anna and friend Will. The plan is to pay a short visit at Otto’s country chalet, but once they arrive the three discover that their host has disappeared, lost,... Continua »
settembre 3, 2014

Venezia 71 – Terre Battue

Venezia 71 – Terre Battue “Homo homini lupus” is the standard of our daily inferno. The entire capitalistic system is founded on this world vision, even though it’s masqueraded under the lambs wool of the politically correct. Even when we play our Ice Bucket Challenge to sensitize our skin to the horror of the disease with... Continua »
agosto 30, 2014

Venezia 71 – The Farewell Party (Mita Tova)

Venezia 71 – The Farewell Party (Mita Tova) Cinema is always a staging of Death. Even when it does not become the undiscussed protagonist of the story, even when it remains discreetly out of the reassuring boundaries of the narration, Death is the condition itself of filming. A motion picture is after all the impression on film (or... Continua »
agosto 29, 2014

Venezia 71 – The Goob

Venezia 71 – The Goob The eye with which Guy Mihill films the world of The Goob is often unstable, gamboling.It does not avail itself of the static rest of the tripod, nor the mechanic fluidity of a steady-cam that encloses everything in geometric pictures to be traversed with rigid precision. Rather, it jolts with... Continua »
agosto 28, 2014

Ground Floor

Ground Floor Extremes are not irreconcilable categories in the poetical world of Ground floor by Israeli director Asya Aizenstein. Black is White’s neighbor, void itself is a possible occasion of fullness and the Flight is the very essence of a dream that you can experience only by firmly rooting your feet in... Continua »
agosto 21, 2014

Can you imagine it?

Can you imagine it? Can you imagine it? The professor has just left the classroom. He put his few belongings in the cardboard box that in America symbolizes the end of a job. He gathers a couple of photographs: some unrealized project and a lot of films that have enchanted young and old alike.... Continua »
agosto 12, 2014

Transformers 4: Age of Extinction

Transformers 4: Age of Extinction Michael Bay was never really a storyteller. Nor we can say that he ever cared to be one anyway. In his films, powerful chromed machines placed on display in sumptuous shop windows, the story has always been rather a hiccup, something to get through quickly and with little effort in... Continua »
maggio 28, 2014


Noah Legend has it that one day, during the pre-production of a film about the Bible, Dino De Laurentiis was on set with Robert Bresson. The well-known Italian Producer, looking out the window, saw, with amazement,  huge cages containing pairs of animals, passing by. First lions, then giraffes, last hippos: for... Continua »
febbraio 27, 2014

X-Men: Days of Future Past

X-Men: Days of Future Past The real paradox of X-Men: Days of Future Past is not a temporal one. Rather it lies in the painful relationship between History and stories, mutually incompatible. The first, fixed and immutable, stays at the back of the viewer (and of the author as well), it’s closed and it reveals... Continua »
febbraio 20, 2014