El conformista bertolucci online dating

At around the same time, Bernardo entered the world of filmmaking as an assistant to another Italian poet, Attilio’s friend Pier Paolo Pasolini, on the writer’s first feature, , despite showing some early signs of Bertolucci’s personal style (expressionistic lighting, a highly mobile camera, and an inventive, time-hopping narrative structure), feels more like a Pasolini film, not the least because of its subproletarian milieu.

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In between these two cinematic homage/exorcisms, Bertolucci made a remarkable work imbued with the personal style he would go on to develop further.

1964’s ), the director’s second film, tells the story of Fabrizio (Francesco Barilli), a bourgeois youth torn between his revolutionary aspirations and the decadent comfort of his surroundings.

Introducing a political element that would later become even more refined, the film worked as an exorcism of a different sort: Marxist, I should say, there is always the fear of being sucked back into the milieu he came out of, because he’s born into it and the roots are so deep that a young bourgeois finds it very hard to be a Marxist to explore the nature of political doubt: Fabrizio abandons one type of patriarchy (his conservative family) for another (the ideological demands of Marxism).

As in most of the director’s films, this dichotomy is accompanied by sexual tension: While left-wing politics and haute bourgeois surroundings provide the milieu for ) concerns Fabrizio’s affair with his aunt Gina (Adriana Asti).

But unlike in his later works, Bertolucci doesn’t quite manage to reconcile the film’s sexual politics with its more overt ideological content.


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