Italian Cinema Today

  Ettore Scola on the set of 'How Strange to Be Named Federico' A sentimental portrait for a friend, Ettore Scola’s 2013 “Che strano chiamarsi Federico” (“How Strange to Be Named Federico”) is both a tribute to Federico Fellini and a reflection on friendship, and an artist’s passion for filmmaking.  Scola created a personal and imaginative film that moves between documentary, fiction, memory, and fantasy, bringing to life important moments he shared with Fellini during their decades-long friendship as well as highlights from Fellini’s own life and career while showing how deeply Fellini influenced Scola himself. The result is an inviting, nostalgic, and at times playful portrait of one of Italy and the world’s most beloved filmmakers. The film opens on the beach where a figure depicting Fellini sits in a director’s chair and watches performers audition for him. The beach is likely symbolic of Fellini’s roots in the seaside town of Rimini and his beach-going days on the c...

The 2016 documentary, “Water and Sugar: Carlo Di Palma, The Colours of Life” is a portrait of an artist told through memory, sincere admiration, and respect. Directed by Kurdish-Iranian filmmaker Fariborz Kamkari, the film pays homage to Carlo Di Palma , one of Italy’s most influential and beloved cinematographers, whose work helped define photography in both European art cinema and American independent filmmaking. The documentary is deeply moving and thought provoking because rather than following a traditional style of biography, the story unfolds gently, almost conversationally, the viewer hears from the collaborators, friends and family that shaped Di Palma’s life and work. Kamkari structures the film around interviews with those who knew Di Palma best: directors, collaborators, friends, journalists, and, most poignantly, his wife, Adriana Chiesa Di Palma, who travels the world revisiting the landscapes of his career. Her conversations are unhurried, allowing reflections to emerge ...

A scene from "C'eravamo tanti amati" Mixing both tragedy and humor, Ettore Scola ’s 1974 film “C’eravamo tanto amati” (“We All Loved Each Other So Much”) follows 30 years in the lives of three men and the woman they each adore. By examining how his generation changed after the war, Scola makes a film that reflects its era. Scola explores the moral, political and emotional evolution of Italy’s postwar generation and, in doing so, creates a film that is a chronicle of its time and a love letter to cinema. The story begins in the aftermath of World War II. Three friends — Antonio ( Nino Manfredi ), Gianni (Vittorio Gassman) and Nicola (Stefano Satta Flores) — emerge from the Italian Resistance with a shared dream of justice, equality and social renewal. They are united by their hope that the sacrifices of war will lead to a better world. But the decades that follow prove to be challenging as Italy undergoes massive social changes, from the postwar economic boom to the politi...

Photo Courtesy of Archivio Luce-Cinecitt à A retrospective dedicated to the films of Italian cinema icon Monica Vitti will be held from June 6 to June 19 at Lincoln Center in New York City.  The 14-film series, titled "Monica Vitti: La Modernista," is presented by Film at Lincoln Center and Cinecittà and marks the first North American retrospective celebrating Vitti's 35-year career. "We are pleased to partner with Cinecittà to celebrate one of Italy's most revered actresses," said Film at Lincoln Center Vice President of Programming Florence Almozini. "It is a privilege to present decades' worth of films from Monica Vitti's illustrious and prolific career, especially with many restored versions of her legendary works." Monica Vitti, a key figure in film history, began her career in the mid-1950s and quickly became a captivating presence on screen. Her collaboration with director Michelangelo Antonioni produced memorable films in the 196...

Whether she’s playing a devoted mother, a biblical figure or a tough but kind hotel manager, Sabrina Impacciatore escapes into the lives and minds of her characters so completely that she often believes she has become them. Impacciatore had wanted to be an actor since she was just 4 years old, but she grew up insecure about her looks and abilities so she pursued a degree in marketing and advertising instead. Unable to shake her childhood dream, she took up acting as a hobby, which led her to write for television. When she presented one of her scripts, she was asked to audition for it. Setting aside her fears, she gave it a shot, landing that role and many others to follow. Her sense of humor made her a natural for TV comedies. Legendary director Ettore Scola cast her in her first feature film, opposite Gérard Depardieu, in the 2000 drama “Concorrenza sleale” (Unfair Competition). Her emotionally charged breakout performance came a year later as Livia in Gabriele Muccino’s internationa...

Born Saturnino Manfredi on March 22, 1921, in Frosinone, Nino Manfredi was one of Italy’s most prolific actors from the 1950s to right before his death in 2004. Manfredi graduated with a law degree but famously declared while delivering his thesis, “Ladies and gentlemen, I swear to you, I will never be a lawyer.” Shortly thereafter, he began his acting career in the theater, working on numerous productions with the likes of Eduardo De Filippo and Vittorio Gassman. In 1949, he made his big-screen debut in Mario Sequi’s World War II drama, “Monastero di Santa Chiara.” He spent the 1950s honing his skills, often playing a friend and confidant of the protagonist. Among his most popular supporting roles during that decade are Peppino in Antonio Pietrangeli’s 1956 “Lo scapolo” (The Bachelor) and Raffaele in Camillo Mastrocinque’s 1956 “Totò, Peppino e la … malafemmina” (Totò, Peppino and the Hussy). The following decade brought more substantial roles that revealed his talent for comedy, whic...

In 1972, Ettore Scola made a docu-fiction about the living conditions southern Italians were forced to endure upon relocating to the FIAT company’s Torino manufacturing plant. The title is, “Trevico-Torino. Viaggio nel Fiat-Nam,” which is a pretty harsh title giving its take on Vietnam.  The film follows a young man, Fortunato Santospirito, from Trevico in the region of Campania to Torino in the region of Piedmont. Once he begins his new job, he is met with hostility there and in his home life, too.  I found a trailer for the film on the AAMOD’s website (Audiovisual Archive Foundation of the Workers' and Democratic Movement), which has become a new fascination of mine after discovering it for the first time in April. This clip is too epic not to translate and post. I wanted it to be under a minute so that I could post it in my IG feed, so I had to cut the original. This clip includes directors Gillo Pontecorvo and Mario Monicelli along with Alberto Sordi recomme...

Peña (right) at the 2008 edition with Jasmine Trinca and Silvio Soldini The 17th edition of Open Roads: New Italian Cinema is underway. Opening weekend is attracting crowds of New Yorkers curious to see the stories that contemporary Italian filmmakers are telling.  Open Roads hit the ground running back in 2001. Since then there has always been a loyal following of moviegoers packing Lincoln Center's Walter Reade Theater ready to immerse themselves in the world of Italian cinema and ask the filmmakers about their visions and driving forces which result in such dramatic, compelling films. I believe the reason behind the festival’s success is its organizers. One will have to search far and wide before finding people with more passion for film and culture.  It was nice to see one of the original organizers  Richard Peña, a former program director for the Film Society of Lincoln Center, during the first couple days of this year's editio...