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Il paradiso dell'uomo

The story of the Japanese woman who with a sense of pagan fatalism has been able to sacrifice herself to mechanize her spirit in a sort of absurd voluntary human planning: of the woman who knows how to pose the folds of her kimono in the precious depictions of traditional dances and who knows turn on the eyes of the spectators with morbid attention in the studied movements of a strip-tease: of the woman who burns all her perceptive powers in the factories of the microscopic transistors in two years, of the "loves" who, with a centuries-old technique, dive for fishing corals and pearls; of the Japanese woman, essential actress of a drama of transformation taking place in a country of very ancient civilization that only for a century has opened the doors of her fantastic world in the eyes of the foreigner.

Il paradiso dell'uomo

10.0 1963
Brindisi '65

Initial panorama of Brindisi, a city with a peasant tradition. The petrochemical, city within a city. Children in poor neighborhoods, workers' voices: the crisis, the layoffs, the need for the recommendations of the Christian Democrats to enter Montecatini. Wealthy men and women binge at the restaurant. Voices of agrarians, forced to leave the earth to make room for the petrochemical. A ballroom. In a puppet theater, a show is staged in which the worker is addressed as "starved". At a course for foremost workers, various compliant testimonies follow one another: Monteshell is a large industry, and no one has any criticisms against it. But another worker, elsewhere, with his face in the shadows, confesses that everyone is afraid to speak, skilled workers get the same pay as simple ones, 400 colleagues have been fired, union activists are "special supervised", and going on strike is a business. 35mm b/w

Brindisi '65

6.0 1966
Out of Frame

A minimalist cinematic style is used in this film to tell the story of a young man who reacquaints himself with an old girlfriend after a chance meeting. He talks to a film director who wishes to make a feature about political change but is uninspired about the lack of real change in everyday life. The woman goes on a boat with an old friend before making love to her former boyfriend. The two rekindle their passions as the passage of time has them viewing each other in a more favorable light.

Out of Frame

10.0 1969
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
Sesto Grado Superiore

Cesare Maestri demonstrates rock climbing technique by making an ascent in the Sella Group in the Dolomites. Maestri starts by climbing a fourth and fifth grade route. Then he progresses through a sixth grade rock face, and ends climbing a roof using aid climbing techniques. Maestri, nicknamed the 'Spider of the Dolomites' is known for his solo repeats in the Dolomites, as the first climber in the world to ascend the sixty-year walls, and for the controversial first ascent of Cerro Torre in Patagonia.

Sesto Grado Superiore

10.0 1960