Aldo Piscitello, a minor government clerk, is forced in 1934 to join the Fascist party. When the war comes, he finds himself able only to talk ineffectually in secret against Mussolini, even as his own son Giovanni is sent into battle. By the end of the war, Aldo has found the courage to stand up for his beliefs, but by then it is too late.
Luigi Zampa
Director
Umberto Spadaro
Aldo Piscitello
Ave Ninchi
Rosina Piscitello
Enzo Biliotti
Il podestà
Massimo Girotti
Giovanni Piscitello
Delia Scala
Elena Piscitello
Ernesto Almirante
Il nonnino
Aldo Silvani
Il farmacista
Miro Zonda
Il federale
Milly Vitale
Maria, the pharmacist's niece
Giovanni Grasso
Mascoli
Olinto Cristina
Sacchi
The film is a documentary focusing on heavy metal in the late 80s and tackles topics like drug addiction, alcoholism, sex, masculinity, and of course, rock and roll. However, this didn’t feel like any documentary I’ve ever seen before.
The height of subversive horror cinema is Jennifer’s Body. No, I will never budge on that. Yes, Cabin in The Woods is funny, Scream is very well made, and the Scary Movie franchise is …. there. But nothing is quite as satisfying as watching the teenage succubus that is Jennifer Check rip apart boys. In the post #metoo era where the industry is far from changed, watching revenge flicks like these is probably one of the most cathartic experiences due to the slow-moving progress being made.
Films staring black transgender actresses/actors are few and far between, it’s refreshing to see a demographic represented in film that hardly gets any attention. This is especially important as the Black trans community has been shown in studies to face the highest level of discrimination amongst general trans and non-binary groups. That is why it’s so crucial that we amplify their voices through any way we can, storytelling being a great medium to do so.
Holiday hijinks ensue when a recently separated couple are both accidently invited to same holiday celebration.
Dead Poets Society relies on patriarchal tropes such as overbearing fathers, contrived brotherhood, and faux-individuality in order to portray its straight white male characters as oppressed.