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By David P. King
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What would happen if Travis Bickle’s cringe-inducing date from “Taxi Driver” was stretched out over an entire weekend in the North of Italy? Thanks to “The Visitor” (“La Visita”, 1963), we have our answer.
Pina (Sandra Milo) is an independent businesswoman living in rural Italy. But she’s unwed and approaching 40-years-old, and longing for a change in her life. She places a personal ad in the newspaper (readers under 40: think Match.com, but with ink, paper and more desperation) stating her desire to find a man and marry. Of the potential suitors who reply, Adolfo di Palma (François Périer), an older bookseller in Rome, seems the most promising. The story begins as he arrives in northern Italy to meet Pina in person.
Many have witnessed those godawful first dates in...
By David P. King
Normal 0 false false false En-us X-none X-none
What would happen if Travis Bickle’s cringe-inducing date from “Taxi Driver” was stretched out over an entire weekend in the North of Italy? Thanks to “The Visitor” (“La Visita”, 1963), we have our answer.
Pina (Sandra Milo) is an independent businesswoman living in rural Italy. But she’s unwed and approaching 40-years-old, and longing for a change in her life. She places a personal ad in the newspaper (readers under 40: think Match.com, but with ink, paper and more desperation) stating her desire to find a man and marry. Of the potential suitors who reply, Adolfo di Palma (François Périer), an older bookseller in Rome, seems the most promising. The story begins as he arrives in northern Italy to meet Pina in person.
Many have witnessed those godawful first dates in...
- 3/5/2013
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Adolfo (Francois Perier) is a city man looking to settle down. Pina (Sandra Milo) is a country girl looking for some romance. They find each other through a personals ad in the newspaper, and after months of letters, they decide to meet. Adolfo takes the train down to Pina's village for the day, hoping to find romance. As the day goes on, their preconceptions slowly break down, and they start discovering how little you can know about someone you think you could love.
Despite its hokey-sounding premise, The Visitor (La Visita) is a fantastic film that deserves a proper DVD release. What I love about the film is how it seems to be setting up these tired rom-com tropes and then completely defies expectations again and again. Without giving too much away, neither Adolfo nor Pina is being completely honest about who they are. Adolfo is not a bumbling geek,...
Despite its hokey-sounding premise, The Visitor (La Visita) is a fantastic film that deserves a proper DVD release. What I love about the film is how it seems to be setting up these tired rom-com tropes and then completely defies expectations again and again. Without giving too much away, neither Adolfo nor Pina is being completely honest about who they are. Adolfo is not a bumbling geek,...
- 4/5/2012
- by Rachel Kolb
- JustPressPlay.net
Via The Seventh Art
"Made in Argentina in 1968, The Hour of the Furnaces (La hora de los hornos) is the film that established the paradigm of revolutionary activist cinema," argues Nicole Brenez in Sight & Sound. "'For the first time,' said one of its writers, Octavio Getino, 'we demonstrated that it was possible to produce and distribute a film in a non-liberated country with the specific aim of contributing to the political process of liberation.' The film is not just an act of courage, it's also a formal synthesis, a theoretical essay and the origin of several contemporary image practices." The New Inquiry points us to the film on YouTube as well as Getino and Fernando Solanas's essay, "Towards a Third Cinema."
In other news. "The BFI has scored a considerable coup, revealing that it has uncovered a copy of what is not only the earliest surviving film...
"Made in Argentina in 1968, The Hour of the Furnaces (La hora de los hornos) is the film that established the paradigm of revolutionary activist cinema," argues Nicole Brenez in Sight & Sound. "'For the first time,' said one of its writers, Octavio Getino, 'we demonstrated that it was possible to produce and distribute a film in a non-liberated country with the specific aim of contributing to the political process of liberation.' The film is not just an act of courage, it's also a formal synthesis, a theoretical essay and the origin of several contemporary image practices." The New Inquiry points us to the film on YouTube as well as Getino and Fernando Solanas's essay, "Towards a Third Cinema."
In other news. "The BFI has scored a considerable coup, revealing that it has uncovered a copy of what is not only the earliest surviving film...
- 3/10/2012
- MUBI
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