Io Ho Il Pene Banned

the real Guzzanti was the one Giovanni Minoli created on Mixer, Violenza, and Emilio Fede....those were great times of Tunnel and Avanzi, when Nirvana even played with Guzzanti acting as the young grunge idiot....

The Flaming Lips were a band dedicated to the most sugary and massive creativity I can remember.

the pinnacle of cyberpunk, beyond cronenberg as far as I'm concerned... the masterpiece by tsuka alongside "a snake in june," cinema that is distorted/deforming, tsuka is a screenwriter, editor, actor, a genius in fact, the scene with the black and decker phallus is mind-blowing.

movie rating

But how can you really give this film less than a 5?? If only the various Natale a Miami by Boldi and De Sica today were capable of being so empty, of truly showing the horror that lies behind the absolute lack of artistic ability. Instead, Boldi and De Sica are just mediocrities, and the mediocre can never reach these levels of absolute, involuntary emptiness. The best of the worst is pure crap; the best of the worst is the awful. But when you truly descend into the abyss of horror, you surpass it, and from ugly it becomes really empty, that is, something uncommunicable and unprovable. Tomba firing his machine gun at nothing, as mentioned by Galakordi, is the best example of what I want to help you understand. I keep this film in the same compartment as those of Bergman, Tarkovsky, Buñuel, and I'm not ashamed of it; everything that exceeds thought... you see... enough with this charge of will, long live divine stupidity, and this film excels at that. Divine stupidity is close to grace. Leopardi would say about the films of De Sica and Boldi that we are faced with the ugly, but in this film, there’s a halo of divine stupidity, in the sense of disregarding anything, any expectation, even cinema. Tomba does not pretend to be an actor like those idiots of the Christmas industry who annoy us every year.

MASTERPIECE of the inexpressible

you should call it sangenio from now on, what a legend...

I am moved Sangenio, last train of the night of Lado beats A Clockwork Orange in penalties.

Yes, definitely the most shocking Lynchian woman, no doubt, but of course behind Audrey Horne/Sheryl Lee Fenn. :-P

Gilliam was right, a film dense with premonitions; today we can confidently say that the visionary filmmaker was spot on 23 years ago: a technological society exposed to the danger of (state) terrorism, to such a manic extent that now when bombs explode in restaurants, for example, they don't even raise an eyebrow among the ladies engrossed in discussions about lingerie, surgical procedures, and facelifts. Gilliam is the Nostradamus of cinema.