Paolo Breccia

Sul davanti fioriva una magnolia

A film by Paolo Breccia.

Immortalità

Three phases of the life of guerrilla priest Camilo Torres (the initial caption explains well how Camilo's mother distanced herself from the film, which falsifies in her opinion her son's life and ideology), told in such a way that it is difficult to read the same person in them; also because the protagonist of the first segment, a young bourgeois university student who is seduced by revolutionary ideals dying during a student revolt, is blessed on the lawn at the moment of his death by the very protagonist of the second episode, this one more obviously inspired by the Camilo Torres who felt his vocation and gave himself to the priesthood.

Immortalità

Three phases of the life of guerrilla priest Camilo Torres (the initial caption explains well how Camilo's mother distanced herself from the film, which falsifies in her opinion her son's life and ideology), told in such a way that it is difficult to read the same person in them; also because the protagonist of the first segment, a young bourgeois university student who is seduced by revolutionary ideals dying during a student revolt, is blessed on the lawn at the moment of his death by the very protagonist of the second episode, this one more obviously inspired by the Camilo Torres who felt his vocation and gave himself to the priesthood.

L'uomo privato

Between Turin and Pisa unfolds the life of a socially and professionally successful university professor of law. Endowed with great intelligence and an elusive charm, the man and the professor lead a “withdrawn” existence that occasionally borders on the beds of casual lovers. Determined to control reality and keep it carefully at arm's length, he becomes involved despite himself in the suicide death of a student. The boy, obsessed with the professor's life, has painstakingly recorded his lectures, his behavior, his habits...

Milonga

A celebrity is murdered in broad daylight in the streets of Rome. Behind the murder lies a much more complex truth. The tracks, surrounded by a sultry milonga, leading to a gay commissioner.

Terminal

Apologue on the theme of power and the strong means to conquer it, wrapped in a yellow structure at the service of political cinema of those years, in a futuristic scenario with vaguely Kafkaesque echoes. "At the time I was interested in a type of metaphorical cinema, but on the one hand in which the metaphor was contained within a conventional structure. […] I basically had two archetypes - existing both in literature and in cinema - on whose variation, revisiting I wanted to work: the theme of the double and the theme of Jekyll & Hyde. By mixing the two, I arrived at the story of the film, one entering the life of another…