Few films are as deserving of the label “masterpiece” as Visconti’s Rocco and His Brothers.
Visconti’s magisterial character study receives a stunning 2K restoration and a brace of excellent supplements.
Art cinema was changed and, in some sense, defined by Antonioni’s spatially oriented filmmaking.
The film is an endlessly complex, universal testament to the ills of valuing commerce over compassion.
It’s vital about violence being bred from systemic blind spots, where small souls are tasked with the impossible.
The film remains a fascinating, occasionally prophetic snapshot of a young filmmaker figuring out his political and aesthetic ideologies.
Luchino Visconti’s The Leopard is more than a tad too pleased by its own spots.
Do not go gentle into that night, Don Visconti. Rage, rage against the dying of the “Lights, camera, action!” era.
The people are characters as much as the waves, dresses, paintings, train whistles, and high heels clacking against stone are.
Luchino Visconti’s swan song is something of a genteel and stately affair.