Word: bellocchio
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...France, the country that birthed the auteur theory, the real stars are the directors. Filmmakers who are not widely known in the States - Austria's Michael Haneke (The White Ribbon), Italy's Marco Bellocchio (Vincere), South Korea's Park Chan-wook (Thirst) and native son Alain Resnais (Wild Grass) - are considered masters here, and the prospect of a masterpiece from any one of them excites the cinemarati...
...Sansa was halfway through an acting course at London's Guildhall School of Music and Drama when a friend recommended her to the casting director working on Marco Bellocchio's film, La Balia. At the time, she didn't have the money to go to Rome for the audition. But a month later, Bellocchio still hadn't found his heroine and Sansa, whose grandmother had sent her money to come home for Easter, was determined to seize the opportunity. After six auditions, she got the part. "She was just a girl when I chose her for La Balia," says Bellocchio...
...MOST INSISTENT presence in Marcc Bellocchio's Leap Into the Void is the director himself. He is almost tangibly there in the background of each heavily symbolic scene, shaking a first at reality. All too often, however, one also suspects that he is biting his thumb at the audience. It is not that he refuses to communicate. The themes--madness and sanity, meaning versus nihilism--present themselves at every turn. It's just that their hammering symbolism and anti-realism become tedious after a while. The director, it seems, is almost coercing one to interpret first, watch later. But unless...
...pivotal character, Vittorio, is a millionaire running on the democratic socialist ticket. A moderate, pinned between his Maoist brother and his conservative sister; his campaign for an education post is a dolorous exercise. But the conflict is set only superficially in political terms. Bellocchio wrote that the film was conceived in a geometric pattern, on parallel lines. The film's structure emphasizes the interconnections between layers rather than their contribution to an overall theme. The politicial layer lies nearest the surface, but it is little more than a hand-puppet to the film's sexual politics. It is oddly believable...
...Bellocchio has compiled a sourcebook of bourgeois shennanigans and ideological muddles that illuminate the inextricable unity of personal and political consciousness. When Carlo in an opening sequence says he can't love because he is aware there are classes with better material conditions for love, he is at once rationalizing his callousness and ambition and justifying a revolution that might free him from himself...