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La strega in amore [The Witch] (Damiano Damiani, 1966)

Sep

27

La strega in amore (1966)

We, the viewer, sit at the head of a long table. Two women at the tall ends of the table stop eating to look at us. It's ominous. DP: Leonida Barboni.

 

Un matrimonio interplanetario [A Marriage in the Moon] (Enrico Novelli, 1910)

Sep

12

Луна 2 – 1959

Un matrimonio interplanetario (1910)

Aldovin (director and author of La Colonia Lunare (1908) meets his lovely Martian fiancée halfway, on the Moon.

To commemorate the launch (not landing) of the Луна 2 aka the Second Soviet Cosmic Rocket on September 12, 1959, we present The Moon.

 

According to Wikipedia, Luna 2 was the first spacecraft to touch the surface of the Moon, and the first human-made object to make contact with another celestial body. Well, Enrico Novelli went there first…

“Mars Daughter, You are fine. I am loving you and I should like very much to marry you.”

– Aldovin, Terrestrial Astronomer (Aldovin's radiotelegraph to Mars), via

…and what an adventure he had! An Earth gentleman points his telescope at the red planet, only to spot a beautiful Martian princess. He promptly falls in love and lo and behold! it's mutual! That asks for an instantaneous wedding halfway, on the Moon, and nothing can stop them!

Nostos: Il ritorno [Nostos: The Return] (Franco Piavoli, 1989)

Sep

6

Magellan expedition – 1522

Nostos: Il ritorno (1989)

Odysseus (Luigi Mezzanotte) and Poseidon's kingdom, the sea (via). DP: Franco Piavoli.

A seafaring explorer in commemoration of Ferdinand Magellan's (almost) completed circumnavigation in 1522. The Portuguese Magellan was enlisted by Spain to gain access to the Moluccas' spices and other trading goods by sailing west instead of east, thus avoiding the heavily armed Portuguese and Dutch traders who were plundering Southeast Asia, its peoples and cultures.

“Calypso the lustrous goddess tried to hold me back, deep in her arching caverns, craving me for a husband. So did Circe, holding me just as warmly in her halls, the bewitching queen of Aeaea keen to have me too. But they never won the heart inside me, never. So nothing is as sweet as a man's own country.”

– Homer, Odyssey, ca. 8th century CE (via)

 

With the war over, Odysseus returns home by sea, a ten year voyage known as the Odyssey

Mon oncle (Jacques Tati, 1958)

Aug

29

Mon oncle (1958)

Mr Hulot and three women enjoy an outdoor lunch in Villa Arpel's concrete backyard. A woman in furs laughs heartily, head thrown back, with Hulot looking into her open mouth, halting a woman reaching for a carafe mid-movement. The third woman, in an avant-garde Eastmancolor-red poncho, calmly smokes through her cigarette holder. DP: Jean Bourgoin.

 

Mon oncle (Jacques Tati, 1958) / Koolhaas Houselife (Ila Bêka + Louise Lemoine, 2008)

Aug

29

grey

Mon oncle (1958)
Koolhaas Houselife (2008)

A delivery man in front of the gates of Villa Arpel (via), and custodian Guadalupe Acedo working the lift in Maison à Bordeaux. DP of Mon Oncle: Jean Bourgoin.

[A favourite] colour: grey*

 

Approaching the 60s, Mr Hulot finally switches from black-and-white to colour. Suddenly, we see that his suit is a beigeish grey and so is the Arpels' house, that modernist masterpiece designed by Tati. The beloved luddite struggles with hypermodern people and their hypermodern constructs, much alike the future Hulot from Playtime (1967).

– A house like yours must be such a job! – Oh, a leaf! Ah, yes it's a chore. – Admit it, you love it.

In similar absurd fashion, Guadalupe Acedo, cleaning lady, works her way through Rem Koolhaas' Maison à Bordeaux (1998) in Bêka and Lemoine's Koolhaas Houselife (2008). Too steep are the stairs, too leaky everything else. Levelheaded, she does her thing; a small beacon of romantic practicality in a world of absurd efficiency.

 

Il fiore delle mille e una notte [Arabian Nights] (Pier Paolo Pasolini, 1974)

Aug

13

cerulean

Il fiore delle mille e una notte (1974)

The entrance of the Shah Mosque as seen in the film. The seven colours of the tile work are reflected in the extras' costumes. DP: Giuseppe Ruzzolini.

Cerulean, or blue: a building or structure*

“Eh, i sogni a volte insegnano male, Dùnya, perché la verità intera non è mai in un solo sogno, la verità intera è in molti sogni.”

One of the many exotic locations is the مسجد شاه, [Masjed-e Shah, or Shah Mosque] in Iran with its otherworldly blue and blue-adjacent tiles.

 

Il deserto rosso [Red Desert] (Michelangelo Antonioni, 1964)

Aug

12

green

Il deserto rosso (1964)

Valerio (Valerio Bartoleschi) and his mother Giuliana (Monica Vitti) in an arid industrial landscape. Giuliana wears a brilliant green coat, its shade between pea and moss, depending on the drabness of her surroundings. DP: Carlo Di Palma.

Green, in food or fashion*

“She'd discovered a small beach far from town, with crystal-clear water and pink sand. She loved that spot. The colors of nature were so beautiful, and there was no noise. She'd leave only when the sun did too.”

– Giuliana

Antonioni's first film in colour beautifully utilises Vitti's brilliance – of her auburn hair, her porcelain teint, her vivid costumes (by Paola Carloni) – against the drab landscape.

 

Il sorpasso [The Easy Life] (Dino Risi, 1962)

Jul

26

a boys' night out

Il sorpasso (1962)

Bruno (Gassman) and Roberto (Trintignant) driving along Italy in their sports car (via). DP: Alfio Contini.

A boys' night out: men having fun on their own*

“Bruno, I've spent the best two days of my life with you… I mean it!”

– Roberto Mariani

Serious law student Roberto (Jean-Louis Trintignant) goes on an accidental road trip with bon vivant Bruno (Vittorio Gassman).

 

La vérité [The Truth] (Henri-Georges Clouzot, 1960)

Jul

25

La vérité (1960)

Bardot and two men in a café. She has her head on Sami Frey's shoulder while the other man kisses her arm. The table in front of them holds a full ashtray and small coffee cups. DP: Armand Thirard.

 

La grande bouffe (Marco Ferreri, 1973)

Jul

21

La grande bouffe (1973)

Andréa Ferréol in a promotional photo. Food styling by actor/food writer Giuseppe Maffioli, DP: Mario Vulpiani.

A character pigging out*

“The most revolting film I have ever seen”

– Mary Whitehouse, via

Four hedonistic gourmands throw a party of the flesh, of meat, of lust, and death.