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The Best Francesca Comencini Movies. Go to The Best Shows

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poster

?

6.8

/31/

70

/2/

Until the 1970s, Italian cinema dominated the international scene, even competing with Hollywood. Then, in just a few years, came its rapid decline, the flight of our greatest producers, a crisis among the best writer-directors, the collapse of production. But what are the true causes and circumstances of this decline? In an attempt to provide an answer to this question, Di Me Cosa Ne Sai strives to depict this great cultural change. Begun as a loving examination of Italian cinema, the film transformed into a docu-drama that alternates between interviews with the great names of the past and fragments of cultural and political life of the last 30 years. It is a travel diary that shows Italy from north to south, through movie theatres; television-addicted kids; Berlusconi and Fellini; shopping centers; TV news editors; stories of impassioned film exhibitors and directors who fight for their films; and interviews with itinerant projectionists and great European directors.

poster

?

6.8

/20/

Registe, talking on a blade is an Italian documentary about the Italian Cinema signed by women and about the pioneer of the Silent Cinema Elvira Notari (1875-1946) plays by Maria De Medeiros. The directors interviewed are the most important Italian women directors: Lina Wertmüller, Cecilia Mangini, Francesca Archibugi, Francesca Comencini, Wilma Labate, Cinzia Th Torrini, Roberta Torre, Antonietta De Lillo, Giada Colagrande, Donatella Maiorca, Ilaria Borrelli and others.

poster

?

6.6

/24/

40

/2/

The film consists largely of a series of interviews with female filmmakers from several different countries and filmmaking eras. Some, such as Agnès Varda and Catherine Breillat (both from France), have been making films for decades in a conscious effort to provide an alternative to the male filmmaking model; others, such as Moufida Tlatli (Tunisia) and Carine Adler (England), are relative newcomers to directing, and their approaches seem more personal and less political. The film as a whole manages to cover some important topics in the feminist debate about film -- how does one construct a female gaze, how can one film nude bodies without objectifying the actors (of either sex), what constitutes a strong female role -- while also making it clear that “women’s film” comprises as many different approaches to filmmaking as there are female filmmakers.

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