Sonia Gessner Movies

Paolo Taviani and his brother Vittorio Taviani wrote and directed this made-for-TV adaptation of Leo Tolstoy's final novel. Wealthy and privileged Prince Dmitri Nekhludov (Timothy Peach) is called to serve on the jury of a woman accused of prostitution and murder. When the accused is brought forward, Nekhludov discovers to his surprise that the streetwalker is Katusha Maslova (Stefania Rocca), a peasant woman he led into a brief affair many years ago. Maslova has been charged with the poisoning of a local merchant, but she firmly declares her innocence. Nekhludov and his fellow members of the jury find in Maslova's favor, but the judge overturns their verdict on a technicality, and she is sentenced to life at hard labor. Agonized that his seduction of a once-innocent girl led her down a path of such grim consequences, Nekhludov sets out to change his life in a bid to somehow right the wrong he's done to Maslova. Risurrezione was originally screened in a three-hour version designed for television broadcast in Europe, though it was reported that a shorter cut was being prepared for theatrical exhibition. ~ Mark Deming, Rovi

Nina di Majo, the former assistant director for Mario Martone, makes her feature debut with this psychological drama. Set in Naples, the film revolves around three generations of middle-class intellectuals. Costanza (di Majo) can't quite bring herself to finish college, fearing what the future will bring; her middle-aged aunt (Elisabetta Piccolomini) struggles to put a past relationship behind her; and teenaged Matteo (Pietro Alessio di Majo) is generally brooding and morose. ~ Jonathan Crow, Rovi

In this film, Tolsoy's classic story Father Sergius is translated from 19th century Russia to 19th century Italy. As in the original story, Sergio (Julian Sands) is a nobleman and a military cadet who is posted in a position close to the (in this case Neapolitan) throne. He is about go through with an arranged marriage linking him with a higher-ranking noblewoman (Natassja Kinski) when he discovers that she has been the King's mistress. Disgusted, he renounces the world and becomes a churchman and a hermit. At his hermitage, he encounters a woman who considers any priest, especially an ascetic one, fair game. She attempts to seduce him and he nearly succumbs, narrowly avoiding that fate by chopping off a finger, in a scene harking back directly to the 1918 Russian silent classic Otets Sergey. Soon after that, he begins to acquire a reputation as a miracle worker. However, by now he has succumbed to his ever-present demon of sexual temptation in the form of a conniving young girl, and he knows he is not worthy of the adulation he is receiving. Devastated by his lapse, he leaves the hermitage and wanders around Italy as a homeless beggar. ~ Clarke Fountain, Rovi

In this drama about a woman's attraction to young boys, a raven-haired, physically pleasing schoolteacher ferries across a lake each week to teach the children in a small village. While in class she is a strict disciplinarian, but when school is over, she invites the innocent Luca (Patrick Tacchella) to private tutorial sessions in which she openly teases, flirts, and flaunts her sexuality, leaving him at first simply uncomprehending. As Luca starts to respond emotionally to her behavior, he becomes seriously conflicted and his priest has a talk with him. The schoolteacher abruptly ends her sessions with Luca, takes up with another boy, and incurs the ire of the townspeople. ~ Eleanor Mannikka, Rovi

In this rich, complex drama, the threat of terrorism serves as a backdrop to an examination of dysfunctional family relationships. Fausto Rossi portrays neglected teenager Emilio, whose father Dario (Jean-Louis Trintignant), a university professor, introduces him to his student, Giulia (Laura Morante) and her lover, Sandro (Vanni Corbellini). Emilio loves photography, and sets about taking pictures of the pair, soon coming to believe that Giulia and his father are lovers. Because Dario and his son are respectful of each other's privacy to a fault, Emilio can't ask, so he starts to spy. When he finds Sandro dead in the street one day, the apparent victim of a Red Brigade terrorist shooting, Emilio decides to keep an even closer eye on his father. It is never completely confirmed whether Dario and Giulia were really having an affair or whether Dario was involved in terrorism, because these issues are not necessarily director Gianni Amelio's concern. Amelio is concerned with perception, and in this fascinating film he examines his young protagonist's multi-faceted interpretations of an elusive truth, revealing that such a thing may not even exist. This is a powerful, absorbing film for thoughtful viewers in search of a challenge. ~ Robert Firsching, Rovi