Organized by the Film Society of Lincoln Center and the Instituto Luce Cinecitta the 15^th edition of Open Roads was held from June 4-11 and presented 16 contemporary Italian feature films from emerging and established film makers ranging from commercial to independent productions. They covered a broad thematic range including several outstanding productions. Most of the films selected were U.S. premieres.

 GREENERY WILL BLOOM AGAIN by Ermanno Olmi (2014) ranks among the best and most effective antiwar films available.  Perfectly timed with the 100th anniversary of the outbreak of WW I Olmi presents an isolated group of Italian soldiers hauled up in snow covered trenches in Northern Italy during World War I battered by Austrian shelling. The dark somber inside of the trenches contrasts with the white surrounding landscape. Olmi captures the horrors of the war in the subdued portraits of ragged soldiers during one night.  Few words are spoken. The commanding officer objects to orders that would lead to an inevitable disaster and resigns. There is the death of one soldier who volunteered for a suicide mission, and another who kills himself. His young replacement realizes the futility of their mission. Most of the soldiers under his command are killed by shelling and buried before they withdraw from the trenches. There is fear, despair and no hope.  Olmi’s recognition as a director spanning more than five decades is further enhanced by this extraordinary film. At the age of 83 Olmi has produced a master piece.

While Ermanno Olmi’s focus is the despair of war, Sabina   Guzzanti’s THE STATE-MAFIA PACT (2014) exposes pervasive corruption and murder as facilitated by the unholy alliance between politicians and the Cosa Nostra.  Using actors to recreate crucial events in the collaboration of Italian officials and politicians with the mafia from the early 90’s on and exhaustive archival material Guzzanti makes a persuasive case in her docu-fictional production not leaving much room for optimism.  Her puzzle of political links to the Mafia is resolved by a Cosa Nostra hitman, Gaspare Spatuzza who after 11 years in jail decides to become a state witness. When the prominent anti-Mafia judges Falcone and Borselini were assassinated in 1992 public pressure to crack down on the Mafia increased tremendously.  The Cosa Nostra  leader Provenzano worked out a deal with politicians and high ranking officials by offering to hand over Tito Rina the killer of Borsellino in exchange for continued protection. The deal was accepted yet Spatuzza reveals that he planted the bomb that killed the magistrate Borsellini. The film also shows with testimonies the connection between Berlusconi and the Mafia. He requested that they provide safety for his family as early as 1970.   The development of a mafia partnership through Berlusconi’s associate Senator dell’Utrui followed. He was the founder of Forza Italia, and involved in instructions by the Causa Nostra to its members to vote for the Forza Italia. That party would leave the Cosa Nostra in good hands. Dell’Utri, is now serving time in jail as a mafia associate.

9 X 10 NOVEANTO by ten filmmakers is an appealing and instructive collection of nine short films using the archives of the Instituto Luce.  Presented in black and white these shorts reflect different narrative approaches but equally important great insights into Italian politics and culture covering nine decades. The shorts cover historical experiences, the role of women, fantasies, dislocation, sexuality, and economic change, to name but a few themes.  Mixing real persons with fictional characters this series is a delightful excursion into Italy’s social and cultural landscape.  

 Moral conflicts aggravated by family links are in the center of the superbly scripted THE DINNER by Ivano de Stefano. The two brothers are Massimo, a conservative detached lawyer, and Paolo, a liberal warm physician. Both come from an upscale cultured wealthy background. Their contrasting lifestyles are captured in the remarkable production design of their residences.  As brothers they share different ethical world views, with Paolo attacking Massimo for defending guilty criminals. The families must confront their fundamental beliefs when they must come to terms with a murder committed by their children, the killing of a homeless man.  After a party, Benni, the daughter of the lawyer, and Michele, the son of the surgeon, brutally attack a man. A low resolution recording of the attack is displayed on television. When Michele’s mother Clara, an artistic tour guide, sees the images she suspects her son and confronts him, but accepts his denial of it. Massimo, however, realizes what happened after accidentally listening in to an exchange between Michele and Benni about their act. His wife Sofia wants to cover it up but follows his lead. Paolo, torn up by the situation is not sure how to approach this rupture in their life and Clara wonders why he does not want to protect Michele.  Massimo decides that Benni and Michele should surrender to the police, though it will destroy their future.  All of the actors provide an outstanding performance in their well-defined roles, Michele, a failing student not involved in family affairs, Benni, a teenager living in the fast lane, Massimo, bereft of overt emotions until realizing his daughter’s crime, Sofia, his second wife who is isolated, and Clara and Paolo torn between their beliefs and the impulse to protect. Ironically Massimo is the only one who knows what to do.

Among screening participants there was a consensus that the 2015 edition of Open Rods was one of the best selections of Italian films presented by the film society, a view I certainly share.

Claus Mueller

filmexchange@gmail.com