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The Blind Woman of Sorrento

Drama set in the nineteenth century in Sorrento in southern Italy. It is an adaptation of the 1852 novel of the same title by Francesco Mastriani. A young woman named Beatrice loses her sight after witnessing the death of her mother. Unable to see Beatrice is unable to identify her mothers’ killer. The police arrest a man who they believe is the murderer. Did they get the right man or is the killer still lurking in the shadows? Years later a family friend introduces Beatrice to a renowned Doctor who specializes in restoring sight. Will Beatrice regain her sight and identify her mothers’ killer or will someone make sure that she never sees again?

The Blind Woman of Sorrento

6.7 1934
St. Peter

Saint Peter, a reluctant but passionate leader, from the crucifixion of Jesus to his own. The film's first half dramatizes the New Testament's "Acts": early fear, the renewal of Pentecost, Saul's conversion, the decision to baptize pagans, and the Apostles' dispersal. In the second half, an aged Peter goes to Rome to join Paul, arriving on the day of Paul's arrest. Paul's death brings a crisis to Rome's Christians and to Peter; lessons from Jesus's teachings guide his decision to stay. Events within the fictive household of Persius, a Roman aristocrat, capture the upheaval that Christian teachings bring to the Eternal City.

St. Peter

6.4 2005
Inferno Rosso: Joe D'Amato on the Road of Excess

Who was Joe D'Amato aka. Aristide Massaccesi? A genius of horror in the USA, a master of eroticism in France, the king of porn in Italy. A man with a thousand pseudonyms capable of making over 200 films while simultaneously holding the roles of producer, director, author, director of photography and even camera operator. An artisan of cinema as he liked to call himself, capable of working on all film genres. From spaghetti western to post-atomic, decamerotic to glossy eroticism, and blockbuster porn to bloody horror. Guided by the aesthetics of extremes and supported by an undeniable technical ability, Joe D’Amato pushed himself, and the viewer, beyond all limits following with dedication three rigid principles that have become his stylistic code: Amaze, Shock, Scandalize.

Inferno Rosso: Joe D'Amato on the Road of Excess

7.3 2021
Burqa

Alan Burlesque is a government leader with seemingly unlimited power. His life is divided between politics, business, and sex. Nothing seems capable of undermining the solidity of his kingdom, and all his enemies are destined to mysteriously disappear. All except one! In fact, despite his enormous strength, Alan is powerless against a mysterious and shadowy woman in a burqa, who slowly enters his life, dangerously threatening him. Who really is this woman with seemingly supernatural powers? And what does she really want from Alan?

Burqa

2.0 2015
Arruso

In relation to some of Pasolini's visits to Palermo for this last film, in 2000 Ciprì and Maresco shot Arruso, which begins with a phrase by Pasolini ("I banished the word hope from my vocabulary") and consists of imaginary interviews with some local characters who are presumed to have had homosexual relationships with the director. The two record the testimonies, sometimes affectionate others less, of those who had the opportunity to meet him and know the trends on the occasion of that trip.

Arruso

4.0 2000
Demonia

Professor Malcolm Evans leads his archaeological expedition into the Valley of Temples in southeast Sicily. His companion and former student, Liza Harris, is looking forward to her very first dig. But Liza feels a strange sympathy with the valley and her recurring nightmares seem strongly tied to the nearby ruins. She is drawn to the remains of a 16th Century convent and its grisly legend of crucifixion. The local villagers rise to protect the entombed secrets of their ancestors, as Liza's obsession with uncovering the truth takes her deeper into the forbidden ruins and further from sanity!

Demonia

5.0 1990