Salvatore Samperi’s Cuore di Mamma

The late sixties were a time of social and political upheaval on an almost global scale but Italy, in particular, seemed to be coming apart at the seams. Bloody clashes between the police and student demonstrators, bombings and factory worker strikes were on the rise as rival political parties like the DC (Christian Democrats), PRI (Republican party) and PCI (communist party) vied for power. This turbulent time was reflected in some of the edgier, more troubling movies of that period by such major filmmakers as Gillo Pontecorvo (The Battle of Algiers, 1966), Bernardo Bertolucci (Partner, 1968), Pier Paolo Pasolini (Teorema [1968], Porcile [1969]), and Michelangelo Antonioni (Zabriskie Point, 1970). Even more polarizing but less well-known is Cuore di Mamma (Mother’s Heart, 1969) by director Salvatore Samperi, which is much more of an avant-garde provocation than anything else. It was based on a story by Samperi and Sergio Bazzini (Dillinger is Dead) and fashioned into a screenplay by Dacia Maraini (The Future is Woman).

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Highlights from VFF 2018

The annual Virginia Film Festival (VFF) in Charlottesville recently celebrated its 31st year of operation on Nov.1-4 and offered attendees the opportunity to select from over 150 films, many of which arrived leaden with awards and critical acclaim from previous festivals like Cannes and Telluride. Programming content focused on specific themes and topics is also part of the VFF tradition and the 2018 event included a film series on Race in America, which included the premiere of Paul Robert’s Charlotteville about the tragic events of Aug. 11 & 12, 2017, and sidebars on Orson Welles, Virginia filmmakers, American folk culture and music and a vast array of international films.   Continue reading

Elio Petri’s Portrait of the Artist as Mental Patient

Italian director Elio Petri is probably best known for Investigation of a Citizen Above Suspicion (1970), which won the Oscar for Best Screenplay (by Petri and Ugo Pirro) in 1972. Yet, most of his other work, with the possible exception of the cult sci-fi satire The 10th Victim (1965), remains overlooked or forgotten when film historians write about the great Italian directors of the sixties and seventies. And 1968’s A Quiet Place in the Country (Un Tranquillo Posto di Campagna) is easily one of his most intriguing and visually compelling films.

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