"So ... your job? Oh no, wait, let me guess: I guess I have a sixth sense for the trades. Sell \u200b\u200bcarpet ..? ".
"Almost, I am a sports journalist."
(Mighty Aphrodite, Woody Allen, 1995)
a portion of the wire Minister Bondi, on the other Nicola Borrelli, Director General of the Ministry of Culture, cinema section. "Doctor, red alert. An emergency terrifying. There is a very dear friend to the Bulgarian Prime Minister and the Prime Minister, a good girl, her name is Michelle Bonev . He says he wants to go to the Venice Film Festival and which do not participate enough. Our Prime Minister Berlusconi has promised that it will win and who will be a wonderful evening, full of light and color. An evening of freedom. She, with time, and he's convinced there's no way to change her mind. " Borrelli, a former deputy Blandini precipitate the lead in the most difficult period in the recent history of Italian culture, stutter something. "Minister, we feel, I do not know if it will be possible." On the first request is followed by others, however, more and more insistent and a story that seems invented by Age and Scarpelli becomes a piece of Italian reality. They spend weeks and "red alert" change of location.
to ) has won the Golden Lion but had the impression (at the end what matters), to do so. The organization is evil. Taking advantage of the event "Action for Women" , cockade true for short films with high-level jury (among others Tornatore, Francesca Comencini, Roberta Torre) and the confusion issue, the plan Bonev snaps in the late afternoon. A secluded location, the Sala Pasinetti , and that's come out the offending plate, the film produced by Bonev "Goodbye Mama" , and co-produced by Rai Cinema under the auspices the Ministry of Culture. History of marginalization full of buxom women in export which is transformed into work "from the social value." The epigraph, a solemn, to give a semblance of credibility: "Special Prize of the Biennale awarded at the 60th anniversary of the European Convention for the Protection of Human Rights and Fundamental Freedoms, the Minister for Arts and Culture ".
ntre were lodged the grounds of appeal on sentence Dell'Utri that explains in detail how the senator has had contact with members of the first caliber mafia ( including Riina) , and how these relationships have also benefited from Mr Berlusconi.
to" the Pope condoms. There is a single case in which a condom is acceptable, according to the Pontiff, "such as when [...] a prostitute using a condom, and this may be the first step toward a moralization, a primary responsibility to develop a new awareness of the fact that not everything is allowed and that you can not do everything what you want '.
The quiet life, Rosario, has found in a remote village in Germany, near a forest where he goes to hunt wild boar. Yes, the wild boar. Rosario to enter the forest because it is that's where the animal lives. The wild boar is, you can not expect to come out from its natural habitat and get yourself in that world, middle-class that is close to the forest. Moreover, if, ironically, it did, that the savage world. So, Rosario enters the dark forest with a rifle. You see, the boar, quiet, rooting. Rosario takes aim, shoots him. Then, the door out of the forest, in the kitchen of his restaurant. Finally, he serves at the table with a side dish of crabs. Flat strange, it's true, but it also means welcome customers
go and meet their tastes, therefore, a good restaurant as Rosario is not ashamed to cook less pizza and more wild boar with crabs. Why are German ones: they eat everything. And you drink it all.
After the successful debut of the comedy Lessons chocolate, Claudio Cupellini signing his second directorial sce
gliendo a black history. Like a black tunnel with no exit, as a dead infamous Gomorrah, like the forest in Germany. As the life of a man who chooses to kill another. The life of a mafioso, a racketeer. The issue, already touched upon in Lessons chocolate, is that of redemption. Possible or impossible? According to the protagonist, impossible. His most important stop in the topical scene of the film, when he turns to a priest in a comatose state, sounds like a condemnation, without appeal: "God does not care about helping people." He says that he regretted the things done in the past, Rosario. Maybe he sincerely believes. But it is not. His death hoax, staged to avoid a wasted life up to that point in the underworld, he soon reveals an expedient Pirandello. How Mattia Pascal, Rosario Russo has also deceived her not to come to terms with the past. But those accounts, with past that, you have to do it. The redemption passes for
strait and forced accountability: in front of themselves, others, God where are you? Where is your brother? Invoke the forgiveness of God, who is Truth and Life, by lying about their identity and having given the death easier for a cable enters the eye of a needle.
Here, then, that life "suicide" is back, and in the most compelling: the father's love for his son. Not Mathias, the son of "German" father's restaurant, but Diego, the son of his father Neapolitan Camorra. Discarded, Rosario had violated a taboo first: the sacredness of love, drawing on a lifetime, he had violated a second: the sanctity of death. Just as Pascal Pirandello's the lesson of Debenedetti.
Toni Servillo interpreting Rosario Russo, skillfully made, in flesh and blood, this character never epifanizzato sentenced to pursue peace in the impossibility of personal relationships. The tragedy is that they can not love anymore, not even a wife, not even a child. Even changing his wife, son or changing. His quiet life is his hell.