Roberto Silvestri

Comments

JUKTI TAKKO AR GAPPO

The most radical example of a “modern film”, that is, of a first-person singular masculine story, a formally partisan text, in a well-defined historical-political context.

Aparajito

the most relentless and moving critique of Western liberal ideology and colonialism

Design for Living

the perfect comedy, before the Hays code, is a no holds barred battlefield, male and female

DEUS E O DIABO NA TERRA DO SOL

a new man was born, the Brazilian, and they exterminated him because he was "impure", Indian, poor black and white. the third cinema is born

Sunrise: A Song of Two Humans

to the springs of the noir genre, the metropolis as an ally of the feminine insurgency

The Big Sleep

se non comprendi il perché di una certa situazione non capisci che il senso dell'hard boiled è il non senso della vita quotidiana e come sopravvivere comunque

Paisan

Rebirth of a nation in the sense of hope and free air, or the road movie in the unconscious is painful but has a sustainable budget

Battleship Potemkin

The subversive pleasure of telling the story as it had never been able to tell, from the point of view of the troops, not the officers, the combative women and not the bullies

Yaaba

Funny like Linus, revolutionary like Babeuf, feminist like Susan Sontag

Daisies

The summary of all the cinema of women, east and west, past and future, from Mabel Normand to Kathryn Bigelow, from Esfir Shub to Ida Lupino, passing through Dorothy Arzner, Maya Deren and "Rosa Von Praunheim"