Acclaimed Italian filmmaker Marco Bellocchio (FISTS IN THE POCKET), now 80, tells the true story of Tommaso Buscetta, the man who brought down the Cosa Nostra.
Walking on Water follows internationally renowned environmental artist Christo on his quest to realize “The Floating Piers,” originally conceived in 1970 by Christo and his late wife and collaborator, Jeanne-Claude.
Javier Bardem, Penélope Cruz, and Ricardo Darín star in this captivating tale of suspicion, money, and kin.
Academy Award Nominee – Best Cinematography, Best Foreign Film
Inspired by the early life and career of renowned contemporary artist Gerhard Richter, Academy Award-winning director Florian Henckel von Donnersmarck (The Lives of Others) delves into the dark corners of postwar East Germany to explore the role art can play in times of political chaos and moral confusion.
Academy Award-winner Helen Mirren and two-time Golden Globe-winner Donald Sutherland are a runaway couple who, despite each having serious health problems and medical conditions, go on an unforgettable journey in the faithful old RV they call The Leisure Seeker, traveling from Boston to The Ernest Hemingway Home in Key West.
4 Academy Award Nominations: Best Picture, Actor, Adapted Screenplay, Original Song
The new film by Luca (I am Love, A Bigger Splash) Guadagnino is a sensual and transcendent tale of first love, based on an acclaimed novel and written for the screen by James Ivory.
A film director has to cope with her dying mother and deal with a pompous American star on set and off in this tragicomic triumph by Nanni Moretti whose films include THE SON’S ROOM which won the Palme D’Or at Cannes 2001, DEAR DIARY that dealt with the filmmaker’s own battle with cancer, and WE HAVE A POPE about a cardinal reluctant to don the robes.Manohla Dargis in her NYTimes Critics’Pick review writes, “Love, death, cinema — they’re all there in “Mia Madre,” bumping up against one another beautifully.”
Tilda Swinton, Ralph Fiennes, and Dakota Johnson star in the English-language debut from director of I Am Love (Luca Guadagnino). Titled after a famous David Hockney painting and loosely based on Jacques Deray’s 1969 thriller, The Swimming Pool, A Bigger Splash is a sensuous portrait of desire, jealousy, and rock and roll under the Mediterranean sun.
Beauty is something we expect from director Paolo Sorrentino whose previous film, the Academy Award winning best foreign language film, THE GREAT BEAUTY, was replete with gorgeous images and expressive, startling music; his new film, shot in the summer Swiss alps on location at the Berghotel Schatzalp, the inspiration for Thomas Mann’s The Magic Mountain, is a continuation of that film’s operatic, powerfully wistful tone and its study of older men taking the measure of their lives.
|“Documentary style” narrative filmmaking is unthinkable without Roberto Rossellini’s revelation “Rome Open City” a harrowing drama about the Nazi occupation of Rome and the members of the underground and the others who fought against it.|
|Conceived amid Rome in ruins at the end of WWII, written in Federico Fellini’s kitchen, the film’s style of filmmaking blends location shooting with non-actors as well as actors – Anna Magnani and Aldo Fabrizi – in leading roles. Unforgettable.|
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|Italy’s nominee for best foreign language film is a sexy, stylish thriller that fuses a whodunit with a tricky dance of status, avarice, and ambition.|
|It’s the night before Christmas Eve and a cyclist heading home from work is run off the road by a careening SUV. As details emerge of the events leading up to the accident, the lives of the well-to-do Bernaschi family intertwine with the struggling middle-class Rovellis in ways neither could have expected. Dino Rovelli (Fabrizio Bentivoglio), in dire financial straits, anticipates the birth of twins with his second wife (Valeria Golino), and uses his teenaged daughter Serena’s (Matilde Gioli) relationship with hedge-fund manager Giovanni Bernaschi’s playboy son to get a chance to invest money he doesn’t have. Paolo Virzi’s taut character study deconstructs the typical linear narrative, observing transformative events from three character’s perspectives adding and layering relevant details and angles. The result is a nuanced account of desire, greed and the value of human life in an age of rampant capitalism and financial manipulation. In Italian with subtitles. |
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|The Tavianis, now in their eighties, makers of such art house hits as PADRE PADRONE and NIGHT OF THE SHOOTING STARS blur the line between fiction and reality in this powerful drama-within-a-drama as inmates in Rome’s Rebibbia prison stage Shakespeare’s JULIUS CAESAR.|
|Following a competitive casting process, the roles are allocated and the prisoners murderers, drug dealers, Mafiosi – begin exploring the text, finding in its tale of fraternity and betrayal parallels to their own lives. The play’s air of menace comes through with an eerie gravity, lending ancient history a jolt. Shot in mostly black-and-white, with a few color sequences that reconnect the prison, and the prisoners, to the surrounding world. Winner of the Golden Bear at the Berlin Film Festival. In Italian with subtitles.|
|Unrated / 76 mins|
|IN PERSON: Joseph Luzzi, Associate Professor of Italian at Bard College, author of the forthcoming memoir My Two Italies, introduces and leads post-screening discussion|
|The popularity of Fellini’s second film, a tale of arrested development, made the title, which literally means “fattened calves”, enter the Italian vernacular while helping secure the maestro’s career as a director.|
|In the seacoast town of Rimini, five young layabouts live in a post-adolescent limbo, dreaming of adventure and escape. They hang out at the pool hall spending lira provided by their indulgent families on drink and women. Originally released in the U.S. as THE YOUNG and THE PASSIONATE, it is a semi-autobiographical masterpiece of sharply drawn character sketches: Skirt-chaser Fausto, forced into marriage; Alberto, the perpetual child; Leopoldo, a writer thirsting for fame; and Moraldo, the only member of the group troubled by a moral conscience. Nominated for an Oscar for Best Original Screenplay, I VITELLONI became the template for young male ensemble films such as MEAN STREETS, AMERICAN GRAFFITI, DINER… (Also – this was the start of Fellini’s collaboration with Nina Rota as music composer for his films.)|
|View Trailer||Read J.Hobeman’s Village Voice rave|
|Academy Award Nominee for Best Foreign Language Film. Won Golden Globe for Best Foreign Language Film|
|Reminiscent of Fellini, this visually spectacular film meanders through Rome in all its glory taking in the glam of nightclubs, parties, and cafés to find a timeless landscape of absurd, exquisite beauty. It tells the story of Jep Gambardella (Toni Servillo) who, since writing a best-selling novel while in his twenties,has immersed himself in all things shallow until a blast from the past makes him reappraise life.|
|Armed with roguish charm, the dazzling Jep Gambardella (Toni Servillo, Il Divo and Gomorrah) has seduced his way through the city’s lavish night life for decades, but when his 65th birthday coincides with a shocking bit of news from the past, he finds himself unexpectedly taking stock of his life in a series of beautifully rendered vignettes. He turns his cutting wit on himself and his contemporaries looking past the extravagant nightclubs, parties, and cafés to understand his life amidst the splendor. In Italian with subtitles. |
|View Trailer||Read Anthony Lane’s New Yorker|
|Considered by many to be one of the greatest films ever made, Rossellini’s JOURNEY… marks a transition from the Italian director’s gritty neorealist documentaries of the 1940s to his complex psychological portraits of the 1950s.|
|The story of a wealthy British couple’s (George Sanders and Ingrid Bergman) trip to Naples, the film’s experimental techniques and unconventional plot line inspired generations of filmmakers, especially the French New Wave. A testament to Rossellini’s capacity for deep moral insight and innovative direction, it captures the magical—and often unsettling—pull that Italy has held over tourists and travelers for centuries. Now available in a restored digital version, Journey to Italy brings us back to the glory days of European avant-garde cinema while providing a timeless look into human relations, especially those bound by love.|
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|Oscar winning director Jonathan Demme (Stop Making Sense, Neil Young: Heart of Gold) turns his lens on an extraordinary gathering led by Enzo Avitabile, a Naples-born saxophonist, songwriter, and jazz fusion pathfinder.|
|Using traditional southern Italian instruments and rhythms as the basis for his music, Avitabile creates inspired new sounds with collaborators from all over the world, including Eliades Ochoa of Buena Vista Social Club, Naseer Shamma, Daby Touré, and Trilok Gurtu. As he pours over musical scores, wanders the streets of his childhood with a saxophone, and jams in a Baroque church, Avitabile’s passion for experimentation shines, as does his love for his city. Demme’s graceful style effortlessly interweaves Avitabile and his native Naples, creating a strong sensory impression of its colorful streets and eccentric denizens. Steeped in history and bursting with innovative sounds, this film offers a rich musical feast. In English and Italian with subtitles.|
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|The popularity of Fellini’s second film made the title, which translates literally as “fattened calves”, enter the vernacular as a way to describe young men who are physically grown up but not yet mature.|
|The popularity of Fellini’s second film made the title, which translates literally as “fattened calves”, enter the vernacular as a way to describe young men who are physically grown up but not yet mature.y’re dreamers and talkers who wile away their days and nights in their small town (Rimini) spending their indulgent parents lira on drinking and hanging out at the pool hall while trying to impress the females. The leader is Fausto, forced to marry a girl he has impregnated; Alberto, the perpetual child; Leopoldo, a writer thirsting for fame; and Moraldo, the only member of the group troubled by his conscience. An international success and a nominee for an AA for Best Original Screenplay, I vitelloni details a year in the life of a group of small-town layabouts struggling to find meaning in their lives. Nominated for a best screenplay Oscar… .|
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|The world may no longer have one, but at Upstate… “We Have a Pope!” Nanni (The Son’s Room, Dear Diary) Moretti joins forces with the great French actor Michel (Belle de Jour, Contempt, plus a few hundred other films) Piccoli to tell the story of Melville, a French cardinal who finds himself elected as the next Pope...|
|The Cardinals, hopelessly deadlocked and unable to agree on a new pope, have come up with a compromise, selecting the French Cardinal Melville (Michel Piccoli). Caught completely off guard, he panics, refusing to go out on the balcony to greet the thousands of faithful waiting in St. Peter’s Square. To prevent a crisis, the Vatican calls in a psychiatrist (Nanni Moretti), who is neither religious nor all that committed, to find out what is wrong with the new Pope, and get him to don the miter and take his new exalted position. Outside, the world nervously waits, inside the therapist tries to find a solution, even organizing a volleyball tourney. But Melville is adamant: he does not want the job, or at the least needs time to think it over. What follows is a marvelous insight into the concept of a human being wary of taking on the title of God’s representative on Earth weighed down by the daunting responsibility of being the leader of a billion souls.|
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|In his warm and witty follow-up to the 2010 hit Mid-August Lunch, writer-director-actor Gianni Di Gregorio has created another sparkling comedy – this time with a dash of the bittersweet.|
|Gianni is a 60-something retiree who’s under the thumb of a needy, possessive mother (played by Lunch‘s Valeria De Franciscis), a wife and daughter who take him for granted, and a downstairs neighbor who treats him like a glorified dog-walker. Feeling he’s become invisible to women, Gianni watches his friends snare younger beauties on the sun-kissed cobblestones of Trastevere and tries his polite, utterly gracious best to generate some kind of extracurricular love life, with both hilarious and poignant results. The breeziness of The Salt Of Life combines beautifully with a touching consideration of mortality in this intelligent and winsome film.|
In Italian with subtitles.
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|Feisty young Rita Atria is the daughter of a Mafia don, the apple of his eye, until he’s shot down in the sunny village square by rivals.|
|She and her older brother hope to avenge his death, but six years later her brother is eternally silenced. Despite her antipathy for the state’s legal apparatus, 17-year-old Rita (Veronica D’Agostino) hands over her extensive diaries to a famed anti-Mafia judge, Paolo Borsellino (Gérard Jugnot). Her bitter mother denounces her betrayal, and Rita is forced to hide away. While in exile, she prepares to counter the Mafia lawyers’ claims that her diaries are “the ravings of a fanatical adolescent bent on revenge.” A tragic and gripping film based on a true story.|
In Italian with subtitles.
|R / 107 mins.|
|Tilda Swinton mesmerizes in this Italian drama centered around the complicated business, personal, and romantic relationships of the Milanese aristocracy.|
|I AM LOVE tells the story of the wealthy Recchi family, whose lives are undergoing sweeping changes. Eduardo Sr., the family patriarch, has decided to name a successor to the reigns of his massive industrial company, surprising everyone by splitting power between his son Tancredi, and grandson Edo. But Edo dreams of opening a restaurant with his friend Antonio, a handsome and talented chef. At the heart of the family is Tancredi’s wife Emma (Tilda Swinton), a Russian immigrant who has adopted the culture of Milan. An adoring and attentive mother, her existence is shocked to the core when she falls quickly and deeply in love with Edo’s friend and partner Antonio, and embarks on a passionate love affair that will change her family forever.|
|R / 120 mins.|
|Staff Pick – presented by Steve Leiber (co-founder of Upstate Films) on Sunday, May 16th at 8pm, in Rhinebeck|
|Fellini’s masterpiece deals with a forty-something film director in a free-fall mid-life crisis beleaguered by everyone and everything as he begins shooting his new project.|
|For Fellini, memory, passion, and creativity are three rings in his circus of life and cinema. Whether on the beach with his childhood friends ogling the voluptuous prostitute Saraghina, or on location juggling his wife (Anouk Aimée), his lover (Sandro Milo), his impatient producer(s), his nasty writer, his assistant, the press, his uneasy actors, and the wannabes and hangers-on, Guido Anselmi (Marcello Mastroianni) is not even a half step ahead of what comes next. And it’s that sense of the unexpected, and the way it’s filmed, that creates an immediacy that gives the film such a kick. For unlike his protagonist, Fellini is way ahead, leading us into a fascinating cinematic experience. Mastroianni is perfect as Guido, a man plagued by his Catholic guilt, his passions, his imagination, his ennui. The opening sequence of Guido escaping through the sunroof of his car while stuck in a suffocating traffic jam, then floating up into the clouds before suddenly being wrenched back to earth sets the tone for a film filled with flashbacks, fantasy sequences, and surrealist flourishes. Flat out-here’s one of the great films that begs to be savored and revisited. And Nino Rota’s score is sublime. In Italian with subtitles.|
|Unrated / 138 mins.|
|A charming tale of food, family, and friendship. Gianni, a bachelor in his mid 50’s, lives with his 93-year-old mother in their beautiful Roman apartment, but they are so far behind in their bills they’re in jeopardy of losing their home.|
|When the building manager knocks on their door, Gianni expects the worst. Instead he’s offered a deal: if he’ll look after the manager’s ancient mother and aunt during Italy’s biggest summer holiday, his debt will be excused. When another creditor appears with his mother, Gianni finds himself running a makeshift geriatric home. A delicately balanced comedy of manners. In Italian with subtitles.|
|Unrated / 75 mins.|