Italy
Saskia Baron
I was once invited to join a book club by a bunch of friendly, clever women. But their conversation began with whether they liked the novel’s central characters enough to imagine having dinner with them and from there, descended into swapping tips about conquering visible panty line and the effectiveness of various moisturisers. I didn’t last long (two sessions, maybe three), which is one way to warn anyone bothering to read this one star review, that I am probably not the ideal demographic audience for Book Club: The Next Chapter.We first meet Jane Fonda, Diane Keaton, Mary Steenburgen Read more ...
Adam Sweeting
Netflix’s hit show Drive to Survive has proved that F1 can grab ratings, but Villeneuve Pironi: Racing's Untold Tragedy (Sky Documentaries) is a more esoteric offering.It’s a story from the annals of early-Eighties Formula One, in which filmmakers Torquil Jones and Gabriel Clarke (both have pedigree in sports documentaries, and Clarke also wrote and co-directed Steve McQueen: the Man and Le Mans) flash back to the fatally entwined careers of drivers Gilles Villeneuve and Didier Pironi. The film opens with the words of Villeneuve’s widow Joann: “This is a story about a very deep betrayal. It Read more ...
Gary Naylor
One wonders if Ricky Simmonds and Simon Vaughan pondered long over their debut musical’s title. Silvio might invite hubristic comparisons with Evita (another unlikely political leader), but Berlusconi feels a little Hamilton – too soon? They went with the surname of their anti-hero which appears a mite unwieldy on the playbill. Alas, that’s not the last unwieldy element of this sprawling, curiously unengaging, half-hearted skewering of Italy’s preening populist. We open on a stage all but filled with a bright white set of steps that half-reminded me of the Victor Emmanuel II Read more ...
Graham Fuller
The cartoonist Gerald Scarfe – or his equally mordant forebear George Cruikshank – couldn’t have drawn a seedier Eurotrash excrescence than the crooner, Richie Bravo, who dominates Ulrich’s Seidl’s Rimini.A hasbeen still purveying his Eighties-style Schlager pop to his few surviving female fans, porcine Richie – he of the dirty-blonde mane, sealskin coat, sexagenarian bloat, and oily seduction shtick – rivals in cringeworthiness the Demis Roussos lusted after by Beverly in Abigail’s Party.The wrinkle in Seidl’s latest chilling satire of moral baseness is that Richie (played by fellow Read more ...
Helen Hawkins
Why did Maui work better than Taormina? Mike White’s second series of The White Lotus, which has relocated for its second season from an upscale Hawaiian resort to the fleshpots of Sicily, is still a worthwhile watch, but it’s hard not to wonder where that special savour has gone this time. We know the drill now, for starters: a dead body turns up in an earthly paradise for rich people, and six episodes later we will know the who, why and when. Season one had fun misleading us about the perp; the second has opted for the trickier stunt of concealing exactly how many bodies there are, and Read more ...
Nick Hasted
Antonioni was a poet of enervated alienation, sold, like early Godard, by profoundly beautiful actors, and perfected in the sun-bleached lassitude of Monica Vitti’s search for her missing friend in L’Avventura (1960).He wandered the world after 1964, applying his hip imprimatur to cultures in flux, from a fantastic, sexy, paranoid Swinging London in Blow-Up (1966) to Communist China in Chung Kio, Cina (1972), and drew Jack Nicholson into his games of existential ennui in The Passenger (1975). Returning to Italy for one last Vitti film, The Mystery of Oberwald (1980), which he dismissed, Read more ...
Graham Fuller
How people dance always gives them away. Alone on the floor of a Sardinian coastal nitespot in Silent Land, the bourgeois Polish couple Adam (Dobromir Dymecki) and Anna (Agnieska Żulewska) fling themselves around as dementedly as if red ants are swarming on their bodies.Their manic grins are unnatural. When Anna is dragged into the locals’ folk dance in the town square, the unease that grips the pair in the film’s second half emerges on her face.Tall and Nordic-looking, projecting superiority and self-entitlement, Adam and Anna had earlier been questioned about the accidental Read more ...
Sebastian Scotney
The clarinet-player, clarinet-owner or clarinet-lover in your life is going to want and need this record. The combination of a glorious sound, lyricism that is lived and (okay, obviously) breathed, contrasted with insane finger-busting at crazy speed is irresistible. There is a less-is-more lightness about the whole enterprise, and there are some ear-wormish tunes too.Perugia-born clarinettist Gabriele Mirabassi (b. 1967) is known in jazz circles. He has in the past made albums with jazz greats such as trumpeter Kenny Wheeler and pianist John Taylor. The harmonic language he develops on Read more ...
Helen Hawkins
After gender-flipping the National’s Malvolio, the director Simon Godwin might have been expected to be equally bold with Much Ado About Nothing at the same address. A same-sex Beatrice and Benedick romance? Dogberry in bondage gear, zonked out on poppers? True, Godwin has been free with the text, cutting freely and turning Governor Leonato into a hotel owner with a wife instead of a brother, but this production is still unexpectedly trad. It’s set in Sicily in “an imagined past”, though looking a lot like Golden Age Hollywood, where Don Pedro and his officers are checking into the Hotel Read more ...
David Nice
For once, a festival theme has meaning. “Tra la carne e il cielo”, “Between flesh and heaven”, is how Pier Paolo Pasolini, the centenary of whose birth we mark this year, defined his early experience of hearing the Siciliana movement of Bach’s First Violin Sonata (adding that he inclined to the fleshly). It provided the perfect epigraph to the four Ravenna Festival performances I attended this year, three of them as stunning as any hybrid event I’ve ever witnessed.The choice of return dates – regretfully missing out on Riccardo Muti's "Roads of Friendship" this year, though I did by chance Read more ...
mark.hudson
Part two of The Milk of Dreams, the central International Exhibition at the 2022 Venice Biennale, housed in the Arsenale shipyard, starts with the kind of massive, grandstanding gesture that’s necessary in a venue of this scale: a colossal bronze bust of a Black woman by American artist Simone Leigh. The serene head with its eyes smoothed into blank sightlessness extends up into the ancient rafters, while the upper body is reduced to a ribbed dome-like form reminiscent of traditional African architecture. Leigh, who is representing America at the Biennale, and has won the Golden Lion for the Read more ...
David Nice
If you sought a spectacular shrugging-off of jubileemania last night, you could have done no better than this programme to coincide with Italian Republic Day from our own national treasures Antonio Pappano – Knight of the British Empire, if you’ll pardon the expression – and the London Symphony Orchestra.Vivaldi, Puccini and possibly Gabrieli would be known to all; probably not Goffredo Petrassi other than as a name, nor Victor de Sabata other than as a conductor. The revelation of a uniquely original sequence, Petrassi’s Concerto for Orchestra No. 5, stems from the 1950s when he was turning Read more ...