From Luxuria, Cortisan, Odalisque, Olympia and Mary Magdalene to Korinne in Mauro John Capece contemporaneous cinematic chef-d'oeuvre, the portrayal of prostitutes is most outstanding.
La Scultura (The Sculpture) a film by Mauro John Capece was premiered at the World Film Festival of Montreal on Monday August 25th. The film is set in Italy in the modern world; Capece directorial style sparklingly reflects gracefulness, simplicity with a minimalist and essentialist aroma, while being constantly sophisticated/classy. Not only that, his cinematographic bravura, will hold you transfixed through the ingenious camerawork, the thought-provoking deployment of satire, the on-screen memorable performances, it can be said to be the official Italian cinema’s comeback.
In the words of Capece “People with money need art to live, and people with art need money to live, so it’s a sort of …show more content…
Oddly enough, Contempt occupied itself with a struggle between a French dramatist, Paul (Michel Piccoli), who apparently learned the way to make money by selling his talents rather to purchase a bed-sitter for his wife, played by the divine Camille (Brigitte Bardot); however, as a result, he loses his initial stature in her eyes. On the one hand, one could argue that Camille long (soft-core) nude scenes are both complicit in, and critical of, her sensual-heavenly prestige. Yet, they say that sex sells and the use of these sequences were mainly aimed to promote the film. The difference is, la Scultura, narrative trajectory begins as the two protagonists of the
La Scultura (The Sculpture) a film by Mauro John Capece was premiered at the World Film Festival of Montreal on Monday August 25th. The film is set in Italy in the modern world; Capece directorial style sparklingly reflects gracefulness, simplicity with a minimalist and essentialist aroma, while being constantly sophisticated/classy. Not only that, his cinematographic bravura, will hold you transfixed through the ingenious camerawork, the thought-provoking deployment of satire, the on-screen memorable performances, it can be said to be the official Italian cinema’s comeback.
In the words of Capece “People with money need art to live, and people with art need money to live, so it’s a sort of …show more content…
Oddly enough, Contempt occupied itself with a struggle between a French dramatist, Paul (Michel Piccoli), who apparently learned the way to make money by selling his talents rather to purchase a bed-sitter for his wife, played by the divine Camille (Brigitte Bardot); however, as a result, he loses his initial stature in her eyes. On the one hand, one could argue that Camille long (soft-core) nude scenes are both complicit in, and critical of, her sensual-heavenly prestige. Yet, they say that sex sells and the use of these sequences were mainly aimed to promote the film. The difference is, la Scultura, narrative trajectory begins as the two protagonists of the