Bozzetto’s primary idiom is the animated short, and his métier is physical comedy.
Margherita Buy gives Francesca Comencini’s film its beating yet sunken heart.
Ten Winters captures a beautifully painful, reflective push and pull between two souls.
The film begins as a story of ramifications for wrongdoings but ends as a near-celebration in the name of doing whatever the heck you want.
One Life, Maybe Two presents the multiple paths a life takes based on the results of one diverging event.
Papaleo needn’t have diluted his musicians’ buoyant masculinity.
Gabriele Salvatores’s film lacks complexity and any real sense for reality.
The Double Hour seems determined to vacuum every last empathetic crumb from its cheap surprises.
The film contemplates the gulf between a child’s dawn-fresh perception of the world and the horrors descended upon it by war.
The identifying phrase “New Italian cinema” is synonymous with that type of socially realist bildungsroman for adults.