Italian film director known for visually distinctive and often provocative films; active from the 1950s and associated with both early critically regarded works and later erotic cinema.

Reviews and public sources note Brass studied in Paris, worked as an assistant to Roberto Rossellini, and directed a range of films from Il Disco Volante to the controversial Io, Caligola (1979). Critics praise his visual framing and early comedies while often criticizing his later erotic-focused films. Reviews mention production conflicts over Caligula (involvement of Bob Guccione) and manipulation of some films by producers; Yankee was reportedly manipulated and his signature removed at one time according to a reviewer.

DeBaser reviews portray Tinto Brass as a visually inventive director whose career ranges from early acclaimed comedies to controversial erotic cinema. Early works like Il Disco Volante are praised; later films draw criticism for emptier eroticism. Io, Caligola is noted for production controversy; Yankee and other genre experiments receive mixed appraisals.

For:Fans of Italian cinema, cult films, film critics and readers interested in erotic and provocative auteur cinema.

 This ugly and unwatchable film - I say it right away, to avoid the usual instrumental controversies by the usual wise guys - is the expression of a double mystery, a mystery that touches the lives of its director and its protagonist.

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 "When freedom becomes liberticide and when moral values fade away, then civilizations decline, logical no?" Who knows if the historical Caligula ever uttered such a phrase... I believe he did, I find it very relevant, and placed point-blank at the beginning of this tormented film it has the tone of a lucid prophecy on the endless decay of humanity always in the hands of madmen.

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 When he doesn't have to play the character of the "Great Pig", Tinto Brass reveals himself to be a true man of cinema, passionate, sincere, competent, and humble.

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 It was 1964, and evidently, they knew how to make films.

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