settima

Milan

La notte [The Night] (Michelangelo Antonioni, 1961)

Feb

7

Falò delle vanità – 1497

La notte (1961)

Author Giovanni Pontano (Marcello Mastroianni) pondering next to a full bookcase. DP: Gianni Di Venanzo.

Books, or art, in commemoration of Savonarola's 1497 Florentine falò delle vanità (bonfire of the vanities).

“I used to spend afternoons reading in bed. Tommaso would call and find me there. He could have kissed me. I wouldn't have resisted, out of boredom. But he was satisfied to watch me as I read. All those purposeless books.”

– Lidia

A lavish #CocktailParty in celebration of the launch of a novel is bookended by tragedy, in the loss of a befriended writer and the unraveling of another writer and his wife's marriage.

Vergogna, schifosi!… [Dirty Angels] (Mauro Severino, 1969)

Aug

14

fruit

Vergogna, schifosi!… (1969)

A group of people in skimpy swimwear sits on space-agey white plastic seating – Archizoom's radical Superonda (1967) – while decadently eating luxurious tropical fruit from a round table that futuristically descends from the ceiling via a steel pole. DP: Angelo Lotti.

“Matto, caldo, soldi, morto… girotondo…”

Il posto [The Job] (Ermanno Olmi, 1961)

Apr

3

World Party Day

Il posto (1961)

Two office workers awkwardly dancing cheek to cheek at the company Christmas party. She's in her finest cocktail dress and pearls, he listlessly wears a mock sheriff's hat. DP: Lamberto Caimi.

To support his family, small-town boy Domenico moves to Milan in the hope to find a job. Eventually he's employed, as a clerk in a drab office replacing a senior worker who died. While the days drag on, only interrupted by coffee shop small talk with fellow teenager Antonietta, the Christmas office #party draws nearer.

“My wife gave me a big kiss this morning. I only get kisses once a month, on payday.”

– Sartori

With the dark absurdity of coming out of fascism and having to run a real-world country with a naive ineptitude – represented by the too-large-borrowed-from-father-suits – and pretence childlike bureaucratic procedures, Olmi's Il posto is a wonderfully sharp observation of postwar Italy.