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Granada, addio!

Mario Valli has a good voice, he is a widow and has a daughter, Paoletta, whom he loves very much. He lives by singing in petty night-clubs. A day arrives when he has his chance: a contract in Madrid. But in Madrid, with his friend Silvio, he finds out that the producer has gone bankrupt. Mario is discouraged and after another producer, Linares, doesn't meet him, the two friends go to see a bullfight. There Mario meets by chance Consuelo who refuses to tell him her surname. When Mario finds out that the surname is Linares, he goes back to Rome, but...

Granada, addio!

10.0 1967
Death on the Fourposter

A group of friends decide to spend a weekend in a castle belonging to Riccardo, a moody and hyper-sensitive young artist. The only other inhabitants of the castle are a mysterious housekeeper, Caterina, and the demented Aldo. The group are joined by two friends: Serena and a young American medium, Anthony. During a seance Anthony predicts a tragedy, then leaves the castle, shocked by his own visions. An hour later, Serena is found strangled to death in bed. The others become gradually more and more diffident and suspicious, especially when another girl is murdered...

Death on the Fourposter

5.2 1964
Eroe vagabondo

Noah earns his living as a plastic flower seller and despite his crushes and hardships, his sweet and dreamy character pushes him to go forward, as well as the love for a girl to whom he usually gives a flower every week . One day he discovers that his loved one has lost her life and begins to wander aimlessly, eventually becoming a hero after saving a clown from certain death but at the same time remains a slave to interest games by shady individuals. When he attends the representation of Romeo and Juliet, he finds in the female protagonist the features of the girl he loved.

Eroe vagabondo

7.0 1966
Hermitage

Hermitage, defined by Bene as "a rehearsal for lenses", beyond any literal rendition - its narrative trace comes from one of his anti-novels, Credito Italiano V.E.R.D.I - displays his immediate attitude to thinking a cinematic language completely based on actor's movements and actions, and more specifically, on his presence and his schemes. Camouflaged or naked, still or moving, his body seems to play and be played at the same time, shifted by objective and subjective tensions, both metaphorically and visually speaking.

Hermitage

7.2 1968
Time Stood Still

Two middle-aged men work as caretakers on an isolated dam construction site high in the snow-capped Italian Alps. When one of them leaves for the valley to spend Christmas vacation with his family he is temporarily replaced with an adolescent boy. The other man is both annoyed and intrigued by the boy and his habits: he listens to loud music, sleeps too long in the mornings and doesn't drink any alcohol. They barely speak to one another in the first couple of days. But when an avalanche cuts their small hut from electricity they slowly start growing more fond of each other.

Time Stood Still

7.1 1960