Marisa Paredes Movies

Following in the footsteps of her father, actor-cum-director Ugo Tognazzi, and her brother, director Ricky Tognazzi, Maria Sole Tognazzi makes her helming debut with the emotionally-amped melodrama L'Uomo che ama (The Man Who Loves). At its core, the film embodies an exploration of gay-influenced heterosexual perspectives and attitudes in the early 21st century. Pierfrancesco Favino stars as Roberto, a straight Turin-based pharmacist emotionally attached to his younger brother, the homosexual Carlo (Michele Alhaique). Roberto witnesses Carlo's delirious happiness with lover Yuri (Glen Blackhall) and feels extremely envious that Carlo has found someone. Though Roberto has proven himself capable of landing successful relationships in the past - his previous lovers include sexy hotel employee Sara (Ksenia Rappoport) and the drop-dead-gorgeous art gallery proprietor Alba (Monica Bellucci) - these relationships invariably ended in heartbreak, with Roberto either being dumped (in the case of Sara) or abandoning his partner (in the case of Alba). As time rolls on, he begins to feel a palpable sense of his own lingering happiness and dissatisfaction, and attempts to reconcile this with his convictions that everyone else in the world is completely satisfied with life. ~ Nathan Southern, Rovi

The efforts of an American ex-patriot living on a remote Mediterranean to establish himself as a serious musician are constantly thwarted by every inhabitant of his small village in director Francesca Joseph's ensemble comedy drama. Larry (Stanley Tucci) thought that by moving to the village that was once home to a celebrated European composer he would find inspiration, but instead he just spends his nights playing for peanuts in the local pubs. Eventually Larry becomes convinced that if he stages a gala tribute to the late composer the locals will finally take note of his talent. But organizing such a lavish event and convincing the late composer's widow (Marisa Paredes) to allow her esteemed late-husband's works to be played publicly by a famed pianist (Virgile Bramley) isn't going to be easy, especially when it begins to seem like everyone wants their say in the event. Now, with everyone from Larry's neurotic partner Miranda (Jessica Stevenson) to the late musician's lovely muse Helena (Emmanuelle Seigner), opportunistic Englishman Sebastian (Hugh Bonneville) and his capricious brother Dickie (Rhys Ifans), and even Larry's long lost daughter Frankie (Jena Malone) crawling out of the woodwork, the put upon pianist will have to balance out the chaos that swirls around him if he holds out any hope of delivering his true masterwork. ~ Jason Buchanan, Rovi

A recently released psychiatric patient and a would-be thief make a pact that will dramatically alter the course of both of their lives in writer\director Pablo Malo's twisting drama. Adrian is a rich kid with some serious mental problems. Released from the psychiatric institution where he has lived since he was just a young boy, Adrian settles in the house granted to him by his estranged father. Meanwhile, on the other side of town, dreary-eyed criminal Gonzalo, the son of an ageing hooker, is running short of cash, and looking for a big score. When Gonzalo attempts to burgle Adrian's house, the unstable owner catches him red-handed. But Adrian isn't interested in turning Gonzalo in, and he's willing to forget the whole thing if the thief will just help him to acquire a pistol. Gonzalo agrees, sending both men's lives spiraling out of control. ~ Jason Buchanan, Rovi

One dysfunctional family's problems hold up a mirror to larger issues of racism and misplaced patriotism in this Spanish drama. Berta (Marisa Paredes) is a nurse who is edging into middle age and looking for a husband; she also looks after the three teenage children of her recently deceased sister. Eduardo (Imanol Arias) is a hard-drinking police investigator who encounters Berta during a trip to the hospital; they hit it off and begin dating. But Berta's new romance could pose a problem for her niece, Lucia (Maria Isasi), whose boyfriend, Fausto (Jose Luis Alcobendas), has a lucrative illegal business smuggling illegal aliens from North Africa into Spain. Adding to tensions around the house, Lucia's brothers, Raul (Alberto Ferreiro) and Guillermo (Roger Casamajor), are members of an extreme right-wing group who have been implicated in the murder of an illegal immigrant from Senegal (Emilio Buale). Berta tries to ignore the ugly truth about the youngsters in her care, but when Eduardo is assigned to investigate the case of the murdered immigrant, she is forced to face the reality of her family's actions. Salvajes was the first feature film from director Carlos Molinero. ~ Mark Deming, Rovi

In this erotic French-Italian-Spanish drama, Max (Georges Corraface), having spent a decade behind bars on a murder conviction, exits the prison a free man. Mysterious museum-worker Mila (Anna Galiena) is parked at the prison gate and speaks to him from her car. Mila is married to businessman Simon (Jean-Marc Barr), who doesn't satisfy her sexually. Later, when Max descends into a basement cafe to use the rest-room, he spots Mila at a pay phone, approaches her, and they have sex amid the rest-room urinals. Max gives her his phone number, and they rendezvous at an upscale hotel. When Max begins following Mila and spying on her, he makes a startling discovery -- her husband is his own brother. Shown at the 1998 Cannes Film Festival. ~ Bhob Stewart, Rovi

Marcello Mastroianni plays several different roles in this off-beat, witty exploration of a man with multiple personalities from world-class filmmaker Raúl Ruiz. Mastroianni first appears as Parisian traveling salesman Mateo Strano who suddenly shows up at the home of Maria, the wife he abandoned twenty years before. She eventually remarried Andre. Mateo begins telling the skeptical Andre that he never really left Marie. Instead he was bewitched by fairies and has been living in the apartment across the street the entire time. He seems so serious, that he is able to lure Andre to the alleged apartment. There Mateo murders him with a hammer and then calmly returns to Maria who seems nonplused by the sudden turn. With pride she shows Mateo their adopted daughter. Mastroianni next appears as Sorbonne professor of negative anthropology Georges Vickers, a grown man who still lives with his cranky mother until he inexplicably leaves to become a vagrant. Living on the streets, he encounters Tania, a streetwalker with a passion for the philosophies of author Carlos Castaneda's Don Juan. The hooker and the tramp stay together until the day that Vickers returns and he leaves. It is soon afterward that he discovers that Tania is really the president of a major corporation. When he learns that she has been jailed for attempting to murder her creepy ex-husband, Vickers uses his clout to save her. The story then jumps to a newlywed couple happily struggling in a humble garret. Their lives change dramatically when a benefactor suddenly appears and provides them with a marvelous country house. They are also given a mute butler (Mastroianni) who answers their every beck and call. It doesn't take the couple long to figure out that the sinister valet (who actually owns the chateau) is quietly poisoning them. In terror they leave, but later he finds them and demands that they give him their baby daughter. He gives the child to Maria, Mateo's wife. Mastroianni's fourth persona, that of industrial magnate Luc Alamand then appears. He is in trouble when he learns that the wife, daughter, and sister he manufactured to impress potential clients are actually coming. The stress causes the sudden emergence of his other disparate personalities. Interestingly, though each live wildly different lives, they are clearly the same mild-mannered, self-effacing character. The comedy in the story works on wildly different levels with sight gags and puns running simultaneously with literary and cultural satire. Beneath it all runs a serious message about the destructiveness and confusion caused by trying to create a single European culture. ~ Sandra Brennan, Rovi

This Italian film takes a chilling, nonexploitative look into the mind of a nice young man who compulsively rapes beautiful women. The rapes are graphically presented and may be disturbing to some viewers. Outwardly Luca seems to be a normal, quiet 20-year old. His mother is frequently gone. Trouble begins when Luca becomes obsessed with Valeria, the beauty who works in the next building. He begins spying on her, and then secretly filming her with his camcorder. He tries to get to know her, but she ignores him. Unable to stand her constant refusal, the frustrated young man accosts her on dark street and rapes her. The first rape was almost accidental; he encountered her on the street and he hurt her. Unfortunately, he liked the violence and begins raping every attractive woman he sees. He is particularly violent with Lorena, a jewelry saleswoman whom he beats up in a park before violating her. Much of the film focuses upon Luca's twisted thought processes. He is upset by the constant rejection he feels; especially when women say no. The film's climax is predictable, and few will feel remorse for Luca's passing. ~ Sandra Brennan, Rovi

Ana Luz's husband has gone away for a little while. While he's away, she experiences every possible irruption into her house, from a troupe of actors to a woman claiming to be her husband's lover. She seems to kill a plumber with her screwdriver, and her neighbor apparently kills a policeman. Just when she "wakes up" and decides she may be dreaming, it begins to seem as though she isn't, in this directionless would-be comedy. Many aspire to avant-garde and radical humor, including the seasoned pros who made this film, but even hardened reviewers were embarrassed for the makers of this movie. ~ Clarke Fountain, Rovi

In modern-day Paris, a cabalist known as the Maharal has created a golem, an artificial being constructed of earth and clay, infused with spirit through the recitation of a special formula. The legendary being he brings to life is known in this instance as "The Spirit of Exile," and the magician's goal in creating her was to create a protector for Jews in need of one. In this movie, the golem is motivated to assist numerous people whose lives are marked by tragedy. In the main story, she must try to help Shemesh, a woman whose many troubles cause her to resemble the Biblical character of Job. She has been evicted from her home after her husband and sons die, and she and her daughter-in-law must find some means for surviving their difficult situation. ~ Clarke Fountain, Rovi

Tata (Imperio Argentina) is a matronly nurse hired by a wealthy heiress who has spent the last 13 years in a convent. Fearing she is prone to nymphomania, Tata oversees the romantic antics of the sex-starved woman as she attempts to rejoin society. Satirical jabs at the military government, the aristocracy, and the Church highlight this comedy. ~ Dan Pavlides, Rovi

Stylistically compelling, morally ambiguous, and profoundly unsettling, this Spanish psychodrama from writer-director Agustin Villaronga stands beside Pier Paolo Pasolini's Salo as one of cinema's most unflinching depictions of human depravity. The story opens in post-WWII Catalonia as former Nazi death camp "doctor" Klaus (Gunter Meisner) consummates his torture-murder of a young man by hurling himself from the roof of his house; this act, motivated either by a sudden attack of conscience or by some form of sexual mania, leaves him paralyzed from the neck down and unable to breathe on his own. We soon find Klaus lying prone in an archaic iron lung, attended by his stern wife Griselda (Marisa Paredes) and young daughter Rena (Gisela Echevarria). When they become unable (or, in his wife's case, unwilling) to look after him, Griselda hires handsome young nurse Angelo (David Sust), unaware that the young man is one of Klaus' former victims, who has maintained a detailed dossier on the "doctor" and his countless unspeakable atrocities. Thus begins a perverse and surreal manipulation of master/servant roles between the immobile Klaus and his equally demented attendant, as the young man attempts to recreate the nightmare world of the camps, even procuring more young victims for his former tormentor's amusement. Though it could be asserted that the stylistically accomplished Villaronga has made a passionate artistic statement about mankind's capacity for unspeakable atrocities, his film may be construed as being one of those horrors in itself. At any rate, Tras el Cristal is not for the faint of heart or weak of stomach. ~ Cavett Binion, Rovi

In his second successful starring role in 1983, Agustín Gonzalez is a father who runs a wine shop in Madrid, a city under a three-year siege (1936-1939) because the Nationalists forces of Francisco Franco need to take Madrid before the fascist dictator can be installed in power. The siege has left the Madrileños with very little food, living under the threat of bombs, and worrying about the prospects of defeat. It is the sense of impending disaster, of hunger and deprivation that is oddly missing from this cinematic interpretation of the play by Fernando Fernán Gómez. The daughter in the family (Victoria Abril) enters into a love affair with a soldier and ends up having a baby, the son (Gabino Diego) is coming of age with the maid - and life seems to go on with all its proverbial ups and downs. But without the sharp dialogue of the play itself, this film is not as tautly strung, or as convincingly real as the stage production. ~ Eleanor Mannikka, Rovi

aka: Their Golden Years In this failed attempt at auteur cinema, director Emilio Martinez-Lazaro puts together a disagreeble cast of characters whose only interest is self-indulgence. Luis (Jose Pedro Carrion), Maria (Patricia Adriani) and their friends have either fallen through the cracks of mainstream society or are trying to. Life swings from drugs to sex and back again, with little chance of ever changing or ever becoming meaningful. ~ Eleanor Mannikka, Rovi