To find his long lost son and food to survive the winter, the great bear king leads his clan down from the mountains and into the world of men. After escaping terrible monsters and defeating an evil duke, the bears and men live together in peace – for a time.
The last interview of the Master Bertolucci who recalls his work with precision, delicacy and philosophy. A movie lesson.
The first time I met Bernardo Bertolucci he asked me: When did you realize you are not immortal? It happened to him when he was shooting Novecento, he told me. Because a strange sickness he became blind for some days. He was 35 at that time and he had already directed very succesful, provocative, seminal movies that had made him a sort of little god of european auteur cinema. He had directed his first film when he was 21 years old, La commare secca and he was the first time on a set with Pier Paolo Pasolini, as his assistant, in 1961, when he was just 20 years old. At that time when Bernardo Bertolucci found out he was not immortal, because quite suddenly he quit to use his eyes, for some days, he had already surprised american critics with The conformist in 1972 (an english critic wrote that the film had the same virtuosity of Style of Citizen Kane by Orson Welles). Two years later, with Last tango in Paris, he transformed an icon of american cinema, Marlon Brando, in a fascinating and enigmatic european hero of eternal resarch of desire, love and meaning in our life. The film was so shocking and touched deeply something hidden and obscure in relationships of sex, power and intimacy. In Italy, after it became the most successful film at the box office, it was blocked by the justice and its negative print burnt: something similar happened to whom, in the past, who dared to believe in different ideas, in extreme and revolutionary dream. So, you can imagine why Bernardo Bertolucci, who, 35 years old, had been so powerful to upset the world with his films, was surprised discovering his own physical fragility. Last time I met him he was in a wheelchair from several years: he knew better than anyone else what physical vulnerability was and he has been telling it to us through sweet, empathetic and moving films like Little Buddah, The sheltering Sky, Besieged. To make the camera a very special character exploring with excitement, fear, rebellion and passion what does it mean to be human has been the outstanding skill of his cinematic style, now it became to face sorrow, pity, marginalization and, of course, death - the greatest of all adventures of our life".
The cinematographic language and the language of Couture simultaneously follow an intimate story line, made of symbols, gestures and images. Moving between Rome and New York, the movie narrates the strength of a blood relationship between two women who have come to a day of reckoning with themselves, through a diachronic and introspective overview.
In the course of a long, slow take over Funafuti, both drought and floods appear in a constant uninterrupted rhythm. The state of flux between both type of events is reflected in the places and actions of the inhabitants making the island's extremes seem familiar: the air is riven with waiting and suspension. The island of Funafuti, in the archipelago of Tuvalu, for some years now has become the stage for a unique phenomenon. Due to the unnatural warming of the sea, saltwater seeps into the subsoil bubbling up through the porous terrain provoking floods which put the future of life on this island at risk.
In the early 1980’s, an all out war rages between Sicilian mafia bosses. Tommaso Buscetta, a made man, flees to hide out in Brazil. Back home in Italy, scores are being settled, and Buscetta’s allies are killed off one after another. Arrested and then extradited by the Brazilian police, Buscetta makes a decision that will change the entire story of the Mafia: He decides to meet with Judge Falcone and betray the eternal vow he made to the Cosa Nostra.