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And when a beloved’s dress is defiled, much more than fabric is at stake. Are traditional ways of life more meaningful than a quick, cheap, flashy photo op? Of course they are. Assandira has great impact because of its idiosyncratic point of view. And so does Grete, who transcends the forceful Teutonic stereotype she embraces and represents so well. Salvatore Mereu on Costantino (Gavino Ledda) in Assandira: “Costantino has an empathy towards nature because he knows the rules of nature and he wouldn’t betray them at all.”Ĭostantino has a problem. It works people in garish clothing arrive in Assandira to experience an authentic rural life that never existed in the first place.

Grete, with a polaroid camera as her constant companion, had hatched the master plan to turn her husband’s family legacy into a profitable attraction for a brand of foreigners who want to embrace a folkloric past, no matter how fake, as long as it’s gritty and engrossing. Told in retrospect to the inspector (Corrado Giannetti) who tries to make sense of the tragic events, Costantino reveals a tale of shame and passion, blindness and compromise. The ancient farm in Assandira, which had become a Sardinian agritourism hub, is no more. His son Mario (Marco Zucca) is dead, his pregnant German daughter-in-law Grete (Anna König) is in the hospital. Fire and torrential rain during a night of revelation destroy what Costantino (Gavino Ledda) knew as his life only a short while ago. In slowly, carefully paced episodes of discovery, Salvatore Mereu’s Assandira goes back in time to expose what happened and hints at the why. In 2013, before the New York Open Roads Italian Cinema luncheon for the Rome delegation of filmmakers, which included Marco Bellocchio for Dormant Beauty and Daniele Cipri for It Was The Son, Salvatore Mereu and I had met at Lincoln Center for a Pretty Butterflies conversation. Open Roads: New Italian Cinema will be held at the Film Society of Lincoln Center.Salvatore Mereu in Sardinia with his son Francesco Mereu (our translator) in Bologna and Anne-Katrin Titze in New York

Today’s young Italian filmmakers are embracing classic storytelling models and formulas and breathing new life into them.Ī celebration of directorial debuts, award-winners and the return of master filmmakers, this year’s lineup is bound to excite with such films as: Easy by Francesco Bruni The Cardboard Village by Ermanno Olmi Magnificent Presence by Ferzan Ozpetek Diaz: Don’t Clean Up This Blood by Daniele Vicari Shun Li and the Poet by Andrea Segre My Tomorrow by Marina Spada Dante Ferretti: Italian Production Designer by Gianfranco Giagni The Legend Of Kaspar Houser by Davide Manuli Escort in Love by Massimiliano Bruno Seven Acts of Mercy by Gianluca and Massimiliano De Serio A Flat for Three by Carlo Verdone The Arrival of Wang by Antonio and Marco Manetti La`-Bas: A Criminal Education by Guido Lombardi Kryptonite by Ivan Cotroneo Horses By Michele Rho Terraferma by Emanuele Crialese Annalisa by Pippo Mezzapesa.Ī showcase of US premieres and many in-person appearances by: Francesco Bruni ( Scialla) Paola Cortellesi ( Nessuno Mi Può Giudicare) Ivan Cotroneo ( La Kryptonite nella Borsa) Massimiliano e Gianluca De Serio ( Sette Opere di Misericordia) Antonio e Marco Manetti ( L’Arrivo di Wang) Francesca Cuttica ( L’Arrivo di Wang) Davide Manuli ( La Leggenda di Kaspar Houser) Ferzan Ozpetek ( Magnifica Presenza) Michele Rho ( Cavalli) Andrea Segre ( Io Sono Lì) Marina Spada (Il Mio Domani) Daniele Vicari ( Diaz) Pippo Mezzapesa ( Il paese delle spose infelici). Another development is the return of genre cinema, whether in the wildly innovative The Legend of Kaspar Hauser or the quietly haunting The Arrival of Wang. The Italian cinema is perhaps the quintessential social cinema, with films regularly taking on even the most divisive issues many of the films included this year, even comedies such as A Flat for Three and Escort in Love, offer their own perspectives on contemporary Italy. A new generation of actors, Margherita Buy, Sergio Castellitto, Toni Servillo, Donatella Finocchiaro, were discovered and embraced at Open Roads. Established filmmakers such as Ermanno Olmi (featured again this year), Mario Monicelli and Pupi Avati have premiered new works here alongside those of emerging filmmakers such as Matteo Garrone, Ferzan Ozpetek (also featured in this year’s program), Paolo Sorrentino and Susanna Nichiarelli. New Italian Cinema has become the leading North American showcase for contemporary Italian cinema.