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This is the only cinematic proof, albeit later partially disowned, by Mr. Pincherle, who nonetheless profitably roamed cinema far and wide during his long life; a work that, among other things produced by a certain Marco Ferreri, was part of an interesting project, later aborted due to censorship, called Documento mensile, a sort of new cinematic genre that, like a cultural magazine, gathered in each issue notes of criticism, documentation, short stories, poetic notations; the most renowned directors, and distinguished personalities of Italian and foreign culture of the time, were called to collaborate, expressing themselves through the cinematic medium in an entirely exceptional way. Discover the review
This is the only cinematic proof, albeit later partially disowned, by Mr. Pincherle, who nonetheless profitably roamed cinema far and wide during his long life; a work that, among other things produced by a certain Marco Ferreri, was part of an interesting project, later aborted due to censorship, called Documento mensile, a sort of new cinematic genre that, like a cultural magazine, gathered in each issue notes of criticism, documentation, short stories, poetic notations; the most renowned directors, and distinguished personalities of Italian and foreign culture of the time, were called to collaborate, expressing themselves through the cinematic medium in an entirely exceptional way.
Beyond the plot and the few characters populating the novel, what emerges, as in other novels by Moravia, is apathy, indifference, a wave of greyness that populates the homes of the petty bourgeoisie, in which even the landscapes of Capri seem illuminated by a dim light. Discover the review
Beyond the plot and the few characters populating the novel, what emerges, as in other novels by Moravia, is apathy, indifference, a wave of greyness that populates the homes of the petty bourgeoisie, in which even the landscapes of Capri seem illuminated by a dim light.
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