Maurizio Donadoni Movies

After ending up in a scenic Sicilian town while trying to avoid his daughter's impending wedding to a devout Catholic, a famous film director becomes inexorably involved in the nuptials of another beautiful bride-to-be in director Marco Bellocchio's semi-surreal drama. Though he tries to keep a low profile upon arriving in Sicily, director Franco Elica (Sergio Castellitto) soon catches the attention of the bankrupt prince of Gravina (Sami Frey) -- who cordially invites the filmmaker to attend his daughter Bona's (Donatella Finocchiaro) upcoming wedding. As it turns out, Bona was to appear in the director's latest film, a cinematic adaptation of the Italian literary classic The Betrothed. In the time leading up to the wedding, the smitten filmmaker develops a deep longing for the lovely Bona and starts doing everything in his power to sabotage her marriage to a wealthy lawyer. ~ Jason Buchanan, Rovi

Director Sergei Bodrov takes a break from his usual socio-political dramas in Bear's Kiss, a surreal fairy tale following Lola (Rebecca Liljeberg), the 14-year-old daughter of long-time circus employees, and her love affair with a shape-shifting bear who calls himself Misha (Sergei Bodrov Jr.). When her father, Marco (Maurizio Donadoni), is killed in a tragic car accident, the circus caravan travels to Spain, where several gypsy fortune-tellers explain the mysterious art of shape-shifting and the responsibilities it entails. ~ Tracie Cooper, Rovi

The English title of this complex Italian film is apt. Featuring 65 main characters and 130 speaking parts (famous faces abound and many of the actors appeared gratis), and ranging in tone from tartly humorous to darkly tragic, it presents 30 interwoven slices from the lives of modern day Romans during a single day. The lone, silent figure of a lone jogger provides a sort of continuity between the vignettes. Beginning at sunset of the previous day, the jogger is seen warming up on his apartment terrace, looking for all the world as if he would like to jump. The rest of the stories seem to be randomly presented. Stories include the robbery of a Chinese restaurant that causes a birthday celebrant to die of fright, two different newlyweds who find themselves attracted to each other, an opportunistic mechanic's plan to capitalize on the death of a rival, a sneaky, sadistic meter maid and others. One uniting feature of the stories is their underlying bitter assessment of modern humanity. People are seen as selfish and basically cruel, still the stories move quickly and the balance between humor and drama, affection and cynicism, and shallowness and complexity is carefully maintained. ~ Sandra Brennan, Rovi

Valeria (Francoise Fabian) is a doctor, but she's also an alcoholic. Unable to do her regular work effectively, she gives that (and her family) up, so as to better devote herself to drink. However, she has an errant benevolent impulse and invites Chim (Anna Kanakis), a sluttish drug addict, to share her quarters. Thereupon she proceeds to dry the woman out, curing her of her addition almost solely through the force of her will. That done, her victim/patient decides that it's time to return the favor, and after a lot of hootin' and hollerin', demon rum is no longer part of her life. ~ Clarke Fountain, Rovi

Filmed on location in Tunisia, the four-hour Italian TV production A Child Called Jesus mixes Scripture with Speculation. The film attempts to fill in the "missing years" of $Jesus, from ages 3 through 12. When King Herod (Hatteb Semlali) fearing that the Messiah has indeed been born, orders that all Hebrew male children under the age of three be slain, Joseph (Bekim Fehmu) moves his family near Egypt. Here, Jesus (Matteo Bellina), sensing His divinity, expresses a desire to return to Nazareth. Travelling homeward with His mother Mary (Carmen San Martin), Jesus flashes forward to events that will unfold in his adult life (Alessandro Gassman plays the grown Jesus in these scenes). Originally presented in two parts, A Child Called Jesus was syndicated to American TV stations during the last week of November in 1989. ~ Hal Erickson, Rovi

In 1978, Italian politics were thrown into turmoil when the Christian Democratic president Aldo Moro was executed. This gripping political drama is based on American journalist Robert Katz's non-fiction book Days of Wrath and documents the convoluted chain of events that lead to Moro's death. Moro was the first politico to bring his country's political factions together in 40 years. His ordeal begins shortly after he is elected. He is en route to church with his five body guards when they are ambushed by radical communist terrorists, the Red Brigade. They quickly execute the body guards and spirit Moro to a hidden "people's prison' where he is interrogated. Neither Moro's Christian Democrats nor the newly reinstated Communists will deal or in any way acknowledge the Red Brigade. They do however engage in a massive search for the missing Moro. But the search is poorly organized and ineffectual. Meanwhile Moro is allowed to send letters to the government. He suggests that the Vatican be called in to negotiate a prisoner exchange with the terrorists, but the Vatican refuses. Instead, they make a formal plea for Moro's unconditional freedom. The government does little or nothing to help the president and Moro realizes that the organization he helped create has abandoned him. In desperation, he becomes sharply critical of the government that continues to stall while the Red Brigade becomes increasingly frustrated and impatient. Eventually they decide to kill Moro and later stuff his body in a red Renault which they parked between the Christian Democrat and the Communist headquarters. The Moro Affair or Il Caso Moro as it was known in Italy, was extremely popular in it's native country, but it also sparked considerable controversy for as the case unfolds, nagging doubts and holes arise that infer that perhaps the government had more of a hand in the assassination than the Red Brigade. ~ Sandra Brennan, Rovi

Based on a story of a husband's obsession by Leo Tolstoy, director Gabriela Rosaleva has transformed Tolstoy's misogynist tract into an inflammatory though indirect condemnation of the husband's behavior. The husband's problem is that he is convinced his wife is having an affair with the violinist who accompanies her in their musical performances. In reality, the wife uses the music of great composers like Beethoven as an escape from her husband's oppressive behavior. She is the sensible yet weakly victim, unable to stand up to him, and he is the horse's arse that cannot see his own aberration for what it is. Tolstoy notwithstanding, the film remains a somewhat uneven drama.
~ Eleanor Mannikka, Rovi

This sometimes confusing erotic drama about the incestuous relationship of a mother and daughter is based on the autobiography of Italian theater actress Piera Degli Esposti though it focuses more on her mother Eugenia (Hanna Schygulla). The liberated Eugenia and her spaced-out, husband (Marcello Mastroianni) -- a professor -- live in a small provincial Italian town, where Eugenia is noticed as she zooms around on her bicycle and chats up strangers at the train station. While still no more than a grown child, Piera -- in tight dresses -- goes with her mother for a threesome when she engages in sexual relations with other men and subsequently suffers both from poor health and the lack of a normal home. The shadow of the future already clouds the household when Eugenia is committed again and again to the psychiatric clinic. By the time Piera has become an adult, both of her parents are in separate mental hospitals -- and both (even the father) are still sexually eccentric, to say the least. (Hanna Schygulla) won the "Best Actress" award at the 1983 Cannes Film Festival for her portrayal of Eugenia. ~ Eleanor Mannikka, Rovi