Experimental anthology film consisting of nine segments - Contrasts, The Janitor, The Plumber, Another Wet Dream, The Happy Necrophiliacs, On a Sunday Afternoon, A Face, Politfuck, Flames - all focused on 70s sex, love and politics.
The most complete, newly restored version of Nicholas Ray's experimental masterpiece embodies the director's practice of film-making as a "communal way of life." Ray plays himself in the ... See full summary »
A thick fog force the travelers to persevere on the ground for many hours at Berlin-Tempelhof airport. Among them is a businessman who is facing ruin and not shy away, throwing his girlfriend to another man's neck in order to save himself.
An American expatriate in Rome witnesses an attempted murder. He learns later that it's connected to an ongoing murder spree in the city, and decides to do his own investigation, despite being personally targeted by the killer.
Enrico Maria Salerno
From the start, the film offers astonishing pictures to tell the story of a beautiful young lady, who wants to join the high society by marriage, by any means. On her way to the big city (Berlin) we see her lying in a Mercedes, the front passenger seat still turned horizontal. She dresses at the same moment, as she sees the city landmark: a big radio tower. Casually, she works as a photo model. So she drifts easily from date to date, private or professional, hard to tell which it is.
The story deals with a rare issue, the ambition of a woman to exchange her youth for security candidly, without the ability to cheat. Two years before the student revolution in Europe, she is the contemporary Holly Golightly, and almost an anti- Godard Brigitte Bardot out of "Le Mepris".
Eva Renzi's performance is beautiful, it is the performance of her life. The film is deeply lyrical, touching by his change of speed, the jazz music and the occasional documentary style.
7 of 7 people found this review helpful.
Was this review helpful to you?
| Report this