3 Fables of LoveDecember 21, 1962
"Les quatre vérités" aka "The Four Truths" is a movie anthology that consists of four segments, all loosely parodying fables from the 17th-century French poet Jean de la Fontaine. The US cut usually features only 3 segments.
The Big NightNovember 12, 1959
The exploits of three young Roman criminals are chronicled in this socially conscious drama. The young men commit petty crimes all day begin with arms theft, and culminating with a night with three streetwalkers. After their pleasure, the boys try to cheat the hookers, but they ladies are smarter than that and have stolen their cash ahead of time. The punks then return to the city for more crimes. Exploits include the harassment of three homosexuals, and attempts to seduce some women.
The Long Night of '43January 1, 1960
In the midst of World War II, the story of the affair of a young woman, married to a man bound to a wheelchair, with a desertor from the Italian army, intertwines with that of the grab of power of a very fanatical local fascist leader, who gets the hold with a massacre of Pacific opposers, among them, the father of the young desertor. Oppresive fog covers both dramas, as a reminder of how values such as courage, love and truth are fading.
I ragazzi dei ParioliMay 13, 1959
A tale on the Italian upper class of the '60s and their ways to kill time.
The DollNovember 7, 1962
An avant-garde political satire that takes place in a mythical country in South America. The dictator has been replaced by a look-alike revolutionary, and the dictator's wife has been replaced by a robot.
Paris, My LoveDecember 5, 1962
Parigi O Cara is probably the most camp in the history of Italian cinema, certainly a favourite with the GLBT community who quote its lines by heart. Unique as it's the only film where Franca Valeri (now 90) is the unquestioned star, in the role of Delia, a snobbish, stingy prostitute who is moving to Paris looking for greener and more lucrative pastures. An anti-neorealist, amoral, almost abstract comedy, which anticipates Almodóvar, a ferocious, though gentle, non-moralistic portrayal of the 60's boom and its broken dreams. The dialogue between Delia and her brother (played by Fiorenzo Fiorentini), when he does (or does not) tell her he is a homosexual, is memorable, a primordial coming-out, a masterpiece of allusions. But what makes it one of the first examples of a film with a "gay point of view" is the approach: perceptive, non-conformist, caustically witty. A film ahead of its times, still unbeaten.