Italian workers and nuns unite in Samad Zarmandili's progressive comedy, BEATE

Religion and Marxism-lite unite in the very nicely-done Italian comedy from 2018, BEATE (in English, blessed), in which a group of female, suddenly-unemployed workers in a lingerie factory join forces with a group of nuns from a local convent -- in order to keep those workers working while stopping the convent from being surreptitiously turned into a seaside resort. Yeah: Capitalism strikes again. Or tries to. This being somewhat of a fantasy -- a quite dear one, nonetheless -- the bad guys have a bit tougher time of it. Also, it must be said that European workers, Italians and French in particular, have more of a history of intelligent, sometimes fierce (and still current) worker solidarity than does the American variety, in which trade unions seem nearly defunct. (Thanks so much, Amazon.)

The filmmaker (shown at right) is a name new to me -- Samad Zarmandili -- though he worked as first assistant director on two excellent Italian movies, 20 Cigarettes and Valzer, the latter being one of TrustMovies favorite films of all time, the filmmaker of which, Salvatore Maira, is one of the three credited writers on Beate (and not by coincidence, I suspect). Both filmmakers must share a very progressive attitude. 

Signore Zarmandili and his writers set up their tale quietly and firmly, allowing, within the framework of a 90-minute screen comedy, as much character development as plot development, all of which makes for more depth, as well as enjoyment.

In the leading role of the woman who organizes the workers is the excellent Sicilian-born actress Donatella Finocchiaro (above, from Secret Journey, Sorelle Mai and Terraferma). As usual Ms Finocchiaro brings a lovely, appealing combination of intelligence and easy-going sex appeal to the role. 

The "leader" of those nuns -- played with proper reticence and discretion by Maria Roveran (above) -- turns out to be one of the youngest and least tutored (but also the most aware and willing), and the movie's combination of religion and labor proves pretty irresistible because it takes seriously the Italian need for religious faith without ever succumbing to any insistence on belief in miracles and the like.

In fact, the single "miracle" that helps bring things to a proper close is more ironic than anything else, and were Beate not such an endearing and kindly little film, you might also call what happens here deeply cynical. (The Capitalists can now make even more money off religion than they might have from their real estate project!).

The movie's attitude toward sexuality is properly adult, as well. Humanity's foibles, particularly those of the male of the species, are not going to change anytime soon, so let's accept them/enjoy them (or not) -- and move on. 

And, sure, labor can work with the Church (wouldn't that be nice?!), and women with men, and retailers with wholesalers, and everyone can profit -- well, somewhat. Cooperation outdoes competition, employing locals is better than outsourcing, and acceptance beats being judgmental -- at least for the length of time you're viewing this little charmer.

Another "find" from Corinth Films, in Italian with English subtitles, and running 90 minutes, the movie opened in virtual cinemas this past weekend. Click here for more information and to view the several locations from which you can choose. 

Changing times: Gorgeous, tradition-bound, coastal Sicily in the 1960s is the locale for Paolo Licata's ALONE WITH HER DREAMS

Yet another "find" from the increasingly indispensable Corinth Films, ALONE WITH HER DREAMS (the Italian title is the even lengthier Picciridda - Con i piedi nella sabbia) is the first feature film from director Paolo Licata, co-adapted from the novel by Catena Fiorello by Signore Licata, Ms Fiorello and Ugo Chiti. This is yet another small, independent, foreign film not picked up for theatrical release here in the USA that is very much worth seeing and savoring.

Filmmaker Licata (shown at right) hasn't merely found  some breathtaking locations in which to film this coming-of-age tale of a young girl separated from her parents, who must go abroad to earn a living to support the family, taking with them their younger child and leaving a very lonely Lucia (newcomer Marta Castiglia, above and below) in the care of her seemingly cold and domineering grandmother. No, he has used  these marvelkous locations to maximum effect.  

Granny is played by a wonderful Sicilian actress (TrustMovies has seen her a few times already, but this, he suspects, 

may be one of her best performances), Lucia Sardo (shown below, right, of The 100 Steps and The Sicilian Girl). Ms Sardo allows us to slowly understand the reasons for the grandmother's reticence and anger, as well as the great love she feels for her granddaughter and why she feels that she must keep this hidden.

Hiding and silence is the Sicilian answer to many problems, and it is to the film's great credit that it finally and thoroughly shows us how and why this simply adds to those problems. Setting the novel and film in the late 1960s, when change was quietly, slowly appearing -- even in Sicily -- allows us to see the tip of several icebergs that took their time before coming to the surface, from feminism to GLBT concerns to emigration/immigration.

Though the tale eventually encompasses some very heavy-duty events, Licati's style manages to avoid melodrama, while the excellent performances, beautiful landscapes and emotional, often-heart-tugging family dynamics will keep you more than glued to your screen.

From Corinth Films, in Italian with English subtitles and running just 95 minutes, Alone With Her Dreams is a movie to seek out and enjoy on a number of levels. It makes its DVD and digital debut this Tuesday, February 23 -- for purchase and/or rental. (I believe it will be available for Amazon Prime members to view at no charge.)

A sneaky, don't-miss movie from Italy to begin the New Year: Sydney Sibilia's ROSE ISLAND

TrustMovies can't imagine those folk even vaguely interested in the theme of individual freedom vs the power of the state not immediately grabbing the opportunity to immerse themselves in the very interesting new Italian film, ROSE ISLAND. 

As co-written (with Francesca Maniere) and directed by Sydney Sibilia (shown below), the movie begins slowly and features a leading character  you will probably not much care for initially. Bear with him, and his film, please. 

This really lovely and slowly ingratiating work builds so strongly and so well that I suspect that you will, just as do its death-threatened cast of characters, by the finale be holding on for dear life.

That leading character, played by Elio Germano, an actor who seems to have cornered the Italian market on troubled, problemed, bizarre people (from My Brother Is an Only Child and The Past Is a Foreign Land onwards to Magnificent Prescence, Suburra, Tenderness and The Man Without Gravity), is a self-involved scientist/inventor who consistently places his own needs and desires above that of everyone from the State to his would-be girlfriend. He may be difficult to root for, but as his latest project surprisingly takes off -- building his own island far enough from the coast of Italy so that he can legally declare it a "nation" -- siding with this guy and hoping for the best becomes more and more difficult NOT to do.

As an actor Signore Germano (above, left, and below, center) rarely begs for sympathy; consequently, once he gets it, you feel it's well-earned. Here, as Rose Island (the character's family name) begins to prosper-and-then-some, adding a most interesting array of staff in the process (shown below), the international publicity the "island" gets (the movie is set back in the 1960s when these events actually took place) attracts the negative attention of everyone from the local police and the Italian government to, yes, The Vatican.

Filmmaker Sibilia plays all this for maximum suspense, humor and emotion; slowly and very surely, he achieves his every end. The fine supporting cast, many of them new to my eyes. proves all you could ask, and how the power of the state (thank god this is 1960s Italy rather than today's Russia, Brazil or The Philippines) seduces and induces until it finally brings this amazing, based-on-life tale to its close. 

In the process characters grow and change, at least a bit, and our own ideas of freedom and what this means and is worth may change a tad, too. Stick around for the end credits to see some photos of the real-life people involved.

Streaming now on Netflix, Rose Island -- in Italian with English subtitles and running just under two full hours -- is very close to a must-see movie. (One of the funniest moments in the film has to do with the particular movie being viewed by this Italian audience, above, and its response to that "classic" film.)

Giuseppe Tornatore's CINEMA PARADISO hits Blu-ray, DVD and 4K UHD from Arrow/MVD

A wonderful Christmas present that checks off the whole list of boxes -- nostalgia, family, friendship, love of cinema, coming-of-age films, and movies-about-movies among these -- Arrow Academy's release this holiday month of 1990's Oscar-winning Best Foreign Language Film, CINEMA PARADISO, is cause for celebration. Written and directed by Italian filmmaker Giuseppe Tornatore, who has never made an uninteresting film and in fact has given us several terrific ones, the movie (which I had not seen since it's original release) holds up beautifully. 

Signore Tornatore (pictured at left), at this point in time, has offered up something doubly, maybe triply, nostalgic. The film begins as a remembrance via an aging adult male who has just been informed of someone's death in the small Sicilian village where he grew up.

As the past is relived, we're awash in marvelous old movie images from so many European and American movie classics, as we learn that the dear departed -- the projectionist at the local cinema -- was the man who helped this boy find his place in life as well as his career. 

That's right: a projectionist of film, a profession that today barely exists in our current age of digital. When was the last time you were in a theater in which a projectionist ran the film? For that matter, when was the last time you were even in a theater? Add another layer of nostalgia here. Proust would kvell.

That this projectionist/mentor is played by that late, great and amazing French actor, Philippe Noiret (above, top) is another huge plus, along with the beautiful job done by Salvatore Cascio (below with Noiret and on poster, top), who plays the adorable, energetic, funny and altogether delightful child in what is one of the truly memorable performances by children in the history of film.

Early in the movie we're made aware how the village priest rather doubles as the town's censor, making certain that any scenes involving sex or even the idea of it -- kissing in particular -- are removed from the film before his parishioners can view them. One of the strengths of the film is how the culture, politics, religion and economics of this lively little village comes to life. The scenes set in the cinema itself are among the movie's best.  

Nearly half of Cinema Paradiso involves our hero as a child. Once he transitions to young adult, the character is played by the then-gorgeous young actor Marco Leonardi, (above, left, and below, right) in whose budding love life we (and the projectionist) become involved.

If Tornatore is not a particularly subtle filmmaker, neither is he heavy-handed. Cinema Paradiso is broad in both style and performance, but all of it works and at precisely the right level. (Only the not-so-great old-age make-up seen on some of the characters toward film's end stands out as too much.) The film also grows more beautiful visually as it moves along.

"Movies are finished," one character intones toward the finale, and soon our now-aged hero is walking through the old deserted and dilapidated movie house that once brought him such joy. The film has renewed resonance today, as we watch what might be the last gasp of movie theaters worldwide, due to this ongoing pandemic. Let's hope not.

From Arrow Academy, distributed here in the USA via MVD Entertainment Group, and full of terrific extras that include a nearly hour-long recap of Tornatore and his career (up until 2000, when the documentary was made) which will make you want to go back and watch every one of his films once again; another half-hour doc about the making of this film, its sudden withdrawal from the Berlin Film Fest, its subsequent wondrous Cannes debut, and who picked it up for U.S. distribution; and finally a recap of the famous kissing sequence, with each film and actors identified. Cinema Paradiso arrived on DVD, Blu-ray and 4K UHD earlier this month. If you're already a fan, a revisit is in order. If you've never seen this lovely, award-winning film, what delight lies ahead!

Prime Video discovery: Simone Godano's delightful AN ALMOST ORDINARY SUMMER

More than mere coincidence, almost every time TrustMovies sees the Warner Brothers logo on a film from Italy, that movie turns out to be a good one: fun, intelligent, mainstream entertainment. But when that same logo appears on an American movie, it is likely to be one of that studio's schlock blockbusters and a major waste of time for any thinking adult. How can two such divergent reactions keep occurring? Well, Italy has long been known for making wonderful films about family, which this new one -- directed by Simone Godano (shown below) and written by Giulia Louise Steigerwalt (with some input from Signore Godano) -- definitely is. 

AN ALMOST ORDINARY SUMMER (its Italian title is Croce e Delizia, which translates as Cross and Delight) tracks the journey of two Italian families in which the fathers/grandfathers of each have fallen in love (and lust) with each other. 

One family, headed by that highly talented icon of sexy smarts, Alessandro Gassman (below, left), is salt-of-the-earth working class with ultra-traditional values, while the other, under the rule of suave Fabrizio Bentivoglio (below, right), is wealthy, elitist but maybe only a tiny bit "woke."

These patres familias may be in love with each other, but the two families are definitely not. So when one grown child of each -- played by Jasmine Trinca, below left, and Filippo Scicchitano, right -- decides to work with the other to sabotage his and her parent's relationship, the movie grows consistently funnier, earthier, sadder, smarter and simply tons of fun. 

The clever screenplay lets us explore the Italian look at prejudices of all sorts, sexual to class-related, and nobody here comes out super-clean. One of the great strengths of the movie is how mixed a bag each of the characters really is. Yet thanks to the clever plotting, smart writing and excellent performances from the entire ensemble, we end up rooting for them all. 

An Almost Ordinary Summer is mainstream and feel-good, all right, but it never loses its hold on a reality in which the divergent must be brought together somehow. Boy, we could use this in the USA these days, but instead we have Donald Trump, his lock-step Republicans, and his idiot base doing all they can to hijack this past election -- chanting  "Stop the Vote" in one state while screaming "Count the Vote" in another. Can somebody please pass out a few spare brains to these folk in need?

But I digress. If you need something lovely -- set in a gorgeous locale with sumptuous interiors, verdant seaside exteriors, and lots of delicious-looking food -- that will make you think and laugh and feel very nice indeed, Croce e Delizia  is the film for you. 

From Wolfe Releasing (and available to view via Amazon Prime), in Italian with English subtitles and running  just 100 minutes, give this Italian mainstream gem a whirl.

DVDebut for Nanni Moretti's fine new documentary, SANTIAGO, ITALIA

Really? Something good came out of the horrific Pinochet dictatorship that ravaged the country of Chile during the 1970s and 80s? God knows, all this has been covered and re-covered in countless documentaries and narratives in the decades since then. Yet the new and ever-so-welcome SANTIAGO, ITALIA by the popular Italian filmmaker Nanni Moretti offers something surprisingly positive, along with information and a situation that TrustMovies knew nothing of until viewing this gripping and moving new documentary. 

Not that Signore Moretti (shown at left) leaves out the bad stuff. No: His interviews with Chilean citizens who were imprisoned and tortured by the military at the time still horrify and disgust, as do those with former members of the military forever trying to justify and/or sleaze out of their actions back in the day. 

But the heart of this fairly brief documentary details how the Italian Embassy in Chile at the time of the coup and after managed to help rescue, then house and eventually ship safely off to Italy several hundred Chilean dissidents. As we hear from these Chilean-Italians, their stories of the time of Salvador Allende and his and Democracy's death in Chile become a kind of mosaic, of things we knew and plenty we didn't, about how various embassies (there were other good guys, in addition to Italy) helped those being persecuted by the new dictatorship.

Filled with archival footage (above and below) that shows us Allende (above, center) and the time period, and then fills in the history via interviews with Chileans in numerous walks of life -- factory workers to musicians, journalists, artists and filmmakers (Patricio Guzmán is one of these) -- the documentary works its way up to the good news about how many of these people were saved.

Early on, one woman recalls how Chile under Allende "was a whole country, a whole society in a state of love." Except it wasn't, of course. Allende was faced with two choices, one interviewee explains: Strike while the iron is hot and nationalize industry or try to placate the bourgeoisie. He chose the former, more progressive model (unlike America's centrist Democratic Party that keep us moving toward the wealthy, powerful and corporate). Although democratically elected, Allende and his socialist policies were hated by many right-wing bourgeois and upper-class Chileans, so with the help of America, the military coup took place. 

All of this has been told and seen many times over. What Moretti brings new to the table is the tale of that Italian Embassy (above) and its good work. His movie is so full of solid, smart information that attention must be paid throughout. The payoff is worth it, for his interviews are often exciting, funny and very moving. My favorite is the story of a grandmother who must toss her baby grandchild over the wall of the embassy and what subsequently occurred. 

What happened to the "saved" Chileans, how they got to Italy, found employment (and much else, too) and, though hoping to return eventually to their homeland, finally settled in Italy is simply a marvelous, engaging story. But, as encouraging and hopeful as the documentary often is (as are most of Moretti's movies), this one ends on a realistic, near-negative note. We can only hope that Chile, Italy, and -- hello -- the USA, too, will take a different course before the opportunity for change runs out.

From Icarus Home Video and Distrib Films US, Santiago, Italia, in Spanish and Italian with English subtitles and running 84 minutes, hit the street this past week and is available now on DVD (and eventually via streaming). It's a must-see for history buffs, lovers of Italy and/or Chile, and progressives of all countries.

Filippo Timi and Sebastiano Mauri's FAIRYTALE hits digital and DVD here in the USA

If you tend to be a sucker for very strange cinema (as am I), you probably won't find an odder example than FAIRYTALE (Favola), the Italian movie from 2017 based on the popular stage play by actor and sometimes writer Filippo Timi, one of my favorite performers, whom we get to see far too seldom here in the USA. TrustMovies interviewed Signore Timi back in 2010, when he played the role of Mussolini in Marco Bellocchio's Vincere. Versatile in the extreme, he sometimes proves nearly unrecognizable from movie to movie.

In the case of Fairytale, Timi (above, left) has co-written the screenplay (with the film's director, Sebastiano Mauri, above, right) as well as essaying the leading role of Mrs. Fairytale, an American housewife in the 1950s who is, pretty much unbeknownst (initially, even to herself), going through a process of heavy-duty self-discovery. On one level, this involves everything from mere temptation to adultery and murder, on yet another, it embraces cross-dressing, transgender, homosexuality, heterosexuality, pansexuality, depression and (societal-induced) mental illness.

As the film opens, our heroine (above) is flitting around her very 1950s home (as envisioned by Italians of the 21st Century), and all by themselves, the costumes, set and production design are reason enough to sit through this gloriously cockeyed movie. So is the tiny taxidermy-mounted poodle, Lady, who begins this bizarre concoction (in animated form) and then stays with us throughout, as some weird kind of security blanket for our thoroughly addled homemaker.

In addition to the eye-popping decor, we also get a dose of just about all your could ask from a film about America in the 50s: Doris Day, UFOs, straying husbands, unfaithful wives, the mambo and Douglas Sirk/Ross Hunter-inspired melodrama. As an encyclopedia of movie knowledge and references, we get quite a lot from Fairytale, too, including Mildred Pierce (below) and All About Eve (further below).

Timi is pretty much the whole show and he is, as always, exraordinary, but very good support is provided by Lucia Mascino (above and at bottom) as the next-door neighbor and friend who becomes quite a bit more over time,

and by Luca Santagostino (below, playing triplet brothers in this neighborhood with flair and versatility). And although daddy issues don't seem to raise their head in the course of the film,

mommy issues certainly do, via the funny, incisive performance of Piera Degli Esposti (below), in the role of Fairytale's rather commanding mother. As lunatic as the movie is, start to finish, it's also clearly trying to persuade audiences to think longer, harder and more pointedly about gender, the roles we assign to this, and the somewhat "iffy" results we continue to get.

While the USA, France and other western countries have all made their own mark on the subject, Fairytale seems to me the very peculiar Italian version of it all.

The fact the Signore Timi, whom I have found to be -- both on screen and in person -- among the "straightest," most "male" and powerful of actors and personalities has been, according to the IMDB, married to the film's director, Signore Mauri, for the past four years would seem to indicate that he has found his own gender-bending way to deal with all this. More power to him!

From Breaking Glass Pictures and running just 90 minutes, Fairytale makes its DVD and VOD debut this coming Tuesday, May 12 -- for purchase and/or rental. It's over-the-top and then some, but if you're looking for an escape from the world of our current and ever-present Covid-19 menace, this movie may very well get you the hell out of here. (It's even got an American flag for the "patriots" among us.)