#KALANK MOVIE NEW UORK FULL#
It’s all a bit abstract and rhetorical, or it would be if this particular piece of cinema were not so visibly and palpably full of those qualities.Īnd much else besides. Stripping down for a late-night swim in the Bay of Naples, Capuano harangues his would-be protégé about the importance of courage, independence and originality in the pursuit of cinema. Fabio - who usually goes by the diminutive nickname Fabietto - never meets Fellini, but late in the movie, he encounters a lesser-known Italian director named Antonio Capuano (Ciro Capano) and begs him for advice.
#KALANK MOVIE NEW UORK SERIES#
Sorrentino - who in his previous features ( “Il Divo,” “The Great Beauty”) and television series ( “The Young Pope,” “The New Pope”) has swooped like a curious, keen-eyed bird through the social, political and sexual thickets of modern Italy - has now turned his attention to his own past.īut every autobiographical film is, almost by definition, a genre unto itself: a layer cake of feeling, memory, imagination and score-settling for which no recipe exists. Lousy? Perhaps, but also for Paolo Sorrentino, the writer and director, a treasury of material to work with and through. It’s also the story of how a young filmmaker wrests his vocation from a reality that is by turns ridiculous, enchanted, bewildering and tragic. We don’t see him onscreen, but his words reach the ears of Fabio Schisa (Filippo Scotti), the skinny, watchful teenager at the center of this coming-of-age story. It’s the mid-1980s, and he has come to Naples to cast his next film. No argument here! I should note that those opinions are attributed to none other than Federico Fellini. What good are movies? According to one line of thinking cited in “The Hand of God,” they are useless except as a “distraction from reality,” something we need because “reality is lousy.”
0 kommentar(er)
