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Roman Dialogue

'The subject of this film is the conversation between a man and a woman. A couple, maybe lovers, maybe married, it doesn't matter. (...) During this conversation, we do not see but the city of Rome. I wanted to transmit that what Rome provokes in me, the feeling of an intrinsic matter, indissoluble, in difference with Paris, made of small parks and open spaces, crossed by the sky and the wind. Hand in hand with the film, the difficulty of the two lovers assumes a clearer, more explicit form. But as much as, in my opinion, it is impossible to describe and film Rome, the difficulty in the love of a couple can never be totally understood.' - Marguerite Duras, Venice film festival catalogue, 1982.

Roman Dialogue

6.2 1983
Giuramento

Due to their dire economic circumstances, Salvatore and Concetta cannot get married, nor can they afford to have her mother's blindness operated on. To remedy the situation, the woman decides to leave with her brother Nino for the United States to ask a wealthy aunt for help. Before leaving, Concetta swears eternal fidelity to Salvatore. But after a while, the man has no news from her. He then leaves for the United States, where he discovers that Concetta has broken their pact by marrying a mafia boss.

Giuramento

6.8 1982
Puccini: Manon Lescaut

All the throbbing eroticism—and ultimate heartbreak—of Puccini’s youthful score is unleashed by James Levine and his top-flight cast. Plácido Domingo is Des Grieux, the handsome, headstrong young aristocrat who falls head over heels for the enticing, impetuous Manon Lescaut (Renata Scotto). Manon returns his love, but her obsession with luxury ruins them both. Gian Carlo Menotti’s opulent production, with sets and costumes by Desmond Heeley, superbly captures the colorful world of 18th century France.

Puccini: Manon Lescaut

8.0 1980
Ad ovest di Paperino

It is the first film of the comedy trio "I GianCattivi", formed by Athina Cenci, Francesco Nuti and Benvenuti, who won the Nastro d'Argento for Best New Director. The film is set in Florence, Tuscany, with some scenes shot in Prato.The title is an inside joke that refers to the Tuscan village of Paperino, which is a district of Prato; the film's surreal and grotesque undertones are also hinted by the title itself, since "Paperino" is also the Italian name for Donald Duck.

Ad ovest di Paperino

6.5 1982
Evil Clutch

The story of a hideous monster who takes the form of a beautiful, seductive woman who in a torrent of special effects, beauty and monster transform into a climax of pure evil. For years this monster woman has cursed a small village, and to this day her deadly grasps holds the peaceful residents in fear. This ferocious, feminine fury possesses a shocking sensual appetite and she can only satisfy her lust when passion consumes her, by striking where a man is most vulnerable.... and the results are deadly!

Evil Clutch

4.1 1988
Parole e baci

Arianna works as an employee in a private broadcaster, Andrea is instead a teacher in an elementary school. The two, both in their thirties, meet at a party and Andrea has managed to conquer Arianna after having courted her in an original and pressing way. The two have been together for the past six years and have become parents of little Francesco, but now their relationship is on the verge of breaking, due to misunderstandings and jealousy scenes that lead them to accuse each other. The couple chooses separation, but living alone after so long is not easy at all.

Parole e baci

7.0 1987
Ernani

Verdi's early masterpiece is based on a Victor Hugo play with a complicated plot concerning a young woman and the three men vying for her affections—her elderly uncle, a king destined to become Holy Roman Emperor, and a bandit who is actually an overthrown nobleman. Though there is plenty of action arising from the various passions and grudges scattered among these characters, the opera is best appreciated as a feast of beautiful and dramatic Italianate singing. With virtuosic roles for a quartet of principals, the opera delivers one feat of heroic vocalism after another.

Ernani

10.0 1983
Street of Mirrors

Francesca, a magistrate, seems happily married to a successful and wealthy engineer. They prepare to spend a holiday together when Francesca is instructed to shed light on the mysterious death of a girl, Rosa Franceschi, who threw herself from the terrace of her house. Francesca interrogates friends and neighbours of the victim, especially Veronica Marini who, living opposite the victim's apartment, followed the whole story. This is how she discovers her husband's affair with Rosa Franceschi and her involvement in the girl's suicide or murder.

Street of Mirrors

7.0 1983
Verdi Macbeth Chailly

Claude D'Anna's film of Verdi's Macbeth is a gloomy affair, stressing the descent into madness of the principal villains. It's acted by the singers of the Decca recording of the opera (with two substitutions of actors standing in for singers) and the lip-synching is generally unobtrusive. The musical performance is superb, conducted by Riccardo Chailly with admirable fire, and sung by some of the leading lights of the opera stages of the 1980s. Shirley Verrett virtually owned the role of Lady Macbeth at the time, and she delivers a terrific performance, the voice equal to the role's wide register leaps and it's suffused with emotion, whether urging her husband on to murder or maddened by guilt in the Sleepwalking Scene. Leo Nucci's resonant Macbeth may lack the ultimate in vocal color and steadiness (his last notes of the great aria Pietà, rispetto, amore are wobbly) but he compensates with intensity in both singing and acting.

Verdi Macbeth Chailly

NR 1987
La Metamorfosi

The short film, a collaboration between the multimedia research group Giovanotti Mondani Meccanici and Loretta Mugnai, combines both film and electronic elements. It is an adaptation of the famous story by Kafka. Julia Anzillotti portrays Mrs. Samsa, known for her work with the Italian theater-dance group Parco Butterfly, while Rolando Mugnai of the Magazzini plays Mr. Samsa, having previously performed in computer comics by GMM. Teresa De Sio makes a friendly appearance as an ironic Grande Diva who communicates solely through soprano vocalizations, accompanied by comedian Daniele Trambusti as her interpreter. The true core of the story consists of the Samsa household televisions, which emphasize and amplify the narrative's emotions.

La Metamorfosi

NR 1988