Impressive, subtle, beautiful and realistic social commentary

Giancarlo Giannini in Seven Beauties (1975)

Travolti da un insolito destino nell'azzurro mare d'agosto

Giancarlo Giannini and Mariangela Melato in Swept Away (1974)

Film d'amore e d'anarchia, ovvero 'stamattina alle 10 in via dei Fiori nella nota casa di tolleranza...'

Giancarlo Giannini and Mariangela Melato in Love & Anarchy (1973)

Giancarlo Giannini in The Seduction of Mimi (1972)

Un complicato intrigo di donne, vicoli e delitti

Camorra (A Story of Streets, Women and Crime) (1985)

Camorra (A Story of Streets, Women and Crime)

Setsuko Hara, Mariko Okada, Keiji Sada, and Yôko Tsukasa in Late Autumn (1960)

Sergio Ferranino, Antonio Petruzzi, and Stefano Satta Flores in The Basilisks (1963)

Antonio Petruzzi

Stefano Satta Flores

Sergio Ferranino

Lina Wertmüller

The story follows the uneventful lives of three young men who live in a small, poverty-stricken village in southern Italy.

I basilischi

Lina Wertmüller&apos;s directorial debut from 1963, I Basilischi (The Lizards) is a quietly powerful look at life in Italy&apos;s deep south in the 1960s. I assume (film buffs can correct me) that this fits into the Italian Neo Realism film movement that captured the world&apos;s attention in the 40s, 50s, and 60s. It is shot in a semi-documentary style and some of the actors are amateurs. The film is in black &amp; white, but it is beautiful, with fabulous shots of a gorgeous medieval town and the the wide open spaces of a nearly treeless countryside, each desolate in their own way. The movie&apos;s power really hits home at the end, not for any special effects or momentous events, but because the cumulative message of the film&apos;s protagonists finally comes through.

Lina Wertmüller's directorial debut from 1963, I Basilischi (The Lizards) is a quietly powerful look at life in Italy's deep south in the 1960s. I assume (film buffs can correct me) that this fits into the Italian Neo Realism film movement that captured the world's attention in the 40s, 50s, and 60s. It is shot in a semi-documentary style and some of the actors are amateurs. The film is in black & white, but it is beautiful, with fabulous shots of a gorgeous medieval town and the the wide open spaces of a nearly treeless countryside, each desolate in their own way. The movie's power really hits home at the end, not for any special effects or momentous events, but because the cumulative message of the film's protagonists finally comes through.

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I basilischi

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