Six dramatised end-of-WWII stories that bring us from Sicily to the Po Valley, the second part of Rossellini’s ‘War Trilogy’ shows us the emotions associated with the tragedy of war as well as the liberation from oppression.
Nomadland before Nomadland, Rosi’s raw, no holds barred documentary on folks living in isolation on buses and vans in the Californian desert finds grace and empathy in their existence.
Three young men waste their time away in a lazy provincial town at the South of Italy in this assured first feature by the trailblazing Lina Wertmuller, with a lovely score by Ennio Morricone.
From theatre to screen, this Italian tale of five sisters is emotionally vacant in its treatment of grief over time.
The third film of Rossellini’s heartbreaking neorealist ‘War’ trilogy tackles postwar Germany through the eyes of a boy suffering from material and moral poverty.
Rossellini’s work here is masterful, shot in a neorealist if also painterly style, that captures the purity and spirituality of ascetic Roman Catholicism in the early 13th century.
Rossellini’s breakthrough film is not just a defining work of Italian neorealism, but a powerful anti-war statement.
Emotions run deep in Godard’s masterwork as it charts the deterioration of a couple’s marriage whilst set against the chronic uncertainties of a movie production.
Shot over three years in the Middle East, Rosi’s beautiful and graceful documentary pits the human desire for normalcy against the unending cycles of death and destruction.
A deserving Golden Berlin Bear winner that powerfully documents the troubling migrant crisis from the vantage point of an Italian island and her life-goes-on inhabitants.
