Maya Sansa Movies

Legendary French screen actress Isabelle Huppert headlines this sumptuous, passionate tale, adapted from a novel by belletrist Pascal Quignard (All the Mornings of the World). Huppert stars as Ann, a gifted and brilliant, middle-aged musician whose sense of security falls to pieces when she stumbles onto her husband, Thomas (Xavier Beauvois), kissing another woman. Without hesitation, she abandons him and takes a headlong rush into the arms of a new life. Guided by her musical intuition and the emotional support of a male friend, Georges (Jean-Hugues Anglade), Ann suddenly realizes how necessary it is for her to latch onto a new identity. She thus embarks on a transnational journey that ultimately takes her to the island of Ischia, Italy, and a palatial house called the Villa Amalia that will change her life. ~ Nathan Southern, Rovi

A handful of women use their smarts and allure in the service of the French Resistance in this historical drama set during World War II. Louise (Sophie Marceau) is a beautiful woman recruited into the French underground by her brother Pierre (Julien Boisselier) while Nazi forces occupy their homeland. Maurice Buckmaster (Colin David Reese) is a British agent who smuggles Louise into London to give her a special assignment -- a British scientist working with weapons research has been captured by Axis forces and is being held in a French hospital. Louise is ordered to put together a team of female resistance fighters to find the scientist and smuggle him to safety before he can be forced to tell Nazi intelligence what he knows. Louise's band of heroines includes Gaelle (Deborah Francois), who knows about demolition; Jeanne (Julie Depardieu), a streetwalker more interested in her own survival than the future of France; Suzy (Marie Gillain), a nightclub entertainer who was romantically involved with a German officer; and Maria Luzzato (Maya Sansa), a Jewish noblewoman who is on hand to help the other women when they make their way back into France. Les Femmes de l'ombre (aka Female Agents was inspired by the true story of Lise Villameur, who served with French resistance forces during the Second World War. ~ Mark Deming, Rovi

A young couple, Chiara (Maya Sansa) and Ernesto (Pier Giorgio Bellocchio, the director's son), follow a real estate agent through a nicely secluded apartment, which they subsequently rent. They then begin doing some strange renovations. It turns out that they're not a couple at all. They're members of the Red Brigade, and the apartment is going to be used to house a kidnapped government official. Good Morning, Night is established writer/director Marco Bellocchio's take on the kidnapping of Aldo Moro, president of the Christian Democratic Party, which rocked Italian politics in the late '70s. Bellocchio tells the story from Chiara's point-of-view, as her romantic relationship with fellow cell member Primo (Giovanni Calcagno) and her allegiance to their strident leader, Mariano (Luigi Lo Cascio), is gradually shaken as she begins to develop respect and affection for their hapless captive, Moro (Roberto Herlitzka). She also begins to feel attracted to Enzo (Paolo Briguglia), a co-worker at her office job (a front for her more radical activities) who has similar political leanings, but strongly disagrees with the Red Brigade's tactics. Chiara spends hours watching Moro in his "cell" through a peephole, as he defends his political actions in a mock trial conducted by Mariano. As negotiations for Moro's release falter due to the government's hard-line stance, Chiara begins to fantasize about helping him escape. Good Morning, Night (the title comes from a poem by Emily Dickinson) was shown at the 2003 Venice Film Festival, where it won the Little Golden Lion, the "CinemAvvenire," and an award for Bellocchio's screenplay. It was also selected for the 2003 New York Film Festival. ~ Josh Ralske, Rovi

Two women on the run from the law soon find they have more than the cops to contend with in this feminist thriller from Italy. Eleonora (Mariella Valentini) learns that her daughter Lenni (Regina Orioli), a teenage runaway, is working at a run-down gas station in a small town, and decides to pay her a visit. Eleonora is quite surprised to discover that Lenni also happens to be involved in a lesbian relationship with Stella (Maya Sansa), a mechanic who runs the station. While glad to see her daughter, Eleonora makes no secret of her indignation, and after a heated argument Eleonora winds up dead. Lenni and Stella set out to find a safe place to hide the body, but, en route, they're trailed by three sexist toughs (Chiara Conti, Marco Quaglia, and Pietro Ragusa) whose childish taunting escalates into violence, forcing the women to fight fire with fire. As if they didn't have enough problems, Lenni and Stella must also contend with the spirit of Eleonora, who, even in death, will not keep her uncharitable opinions to herself. Benzina made its North American premier at the 2002 Toronto Film Festival. ~ Mark Deming, Rovi

One of the masters of Italian cinema, Marco Bellocchio, who has made his name with political films, has been continuing his work with mostly adaptations from literature. La Balia, inspired by a novella of Luigi Pirandello, continues this tradition. The period costume drama takes place during a very turbulent period in Italian history. Neuropsychiatrist Moori and his young wife have just had a little boy who refuses his mother's milk. Mori chooses young Annetta as the nanny after having spotted her at the train station among handcuffed soon-to-be-deported subversives. The illiterate country girl seems to be in good health and suitable for the job. Mori makes a contract with her to abandon her own newborn son and instead feed and care for his child. It turns out that Annetta is not just an ordinary nanny, but a woman with a personality and history. Her presence, particularly her loving relationship with the child, threatens the stability of the family to the point that the natural mother, Vittoria, who has been depressed since the birth, leaves the house in desperation thinking this is the best thing for her child. Bellocchio has no pretensions about bringing a new narrative language to cinema with this film. He tells his story simply and convincingly. Particularly noteworthy is the way he juxtaposes the personal conflicts of the characters with the class conflict that forms the background. Cinematography, décor, lighting, all display distinct professional qualities. Acting by Valeria Bruni Tedeschi and newcomer Maya Sansa is worthy of mention. In competition at the 52nd Cannes Film Festival, 1999. ~ Gönül Dönmez-Colin, Rovi