The Young Girls of Rochefort

Written and directed by Jacques Demy, Les Demoiselles de Rochefort (The Young Girls of Rochefort) is the story of two sisters who hope to go to the big city when a fair arrives in their port town as they hope to find men and a chance to succeed. The film is a musical set in a small port town in France where it plays into two sisters trying to make it and escape their dreary world. Starring Catherine Deneuve, Francoise Dorleac, Jacques Perrin, Michel Piccoli, Danielle Darrieux, George Chakaris, Grover Dale, and Gene Kelly. Les Demoiselles de Rochefort is a splendid and enchanting film from Jacques Demy.

Set in the actual port town of Rochefort during the course of an entire weekend, the film is about a fair that is happening in the town where twin sisters hope to find their ideal men during the fair while hoping to go to Paris to pursue their own dreams. It’s a film that is about trying to find love but also deal with lost love and other complications with everyone getting ready for this fair that was to showcase a lot of things to the locals in Rochefort. Jacques Demy’s screenplay follows a lot of characters and their own pursuit for love with the twin sisters Delphine (Catherine Deneuve) and Solange (Francoise Dorleac) as the leads in the story as they’re two women who can sing and dance as they both want to go to Paris. Upon meeting the carnies Etienne (George Chakaris) and Bill (Grover Dale), they find a chance to get out of Rochefort even though their ideal figures of who their soul mates are just happen to be in the city. At the same time, there’s other characters who cope with love such as Delphine and Solange’s mother Yvonne (Danielle Darrieux) over a fiancée she left behind while a music shop owner in Simon Dame (Michel Piccoli) has just arrived to the town lamenting over someone he had lost as he befriends Solange.

Simon’s friendship with Solange would prompt him to call upon an old friend who could help her with her dreams of writing music in an American named Andrew Miller (Gene Kelly) as the two would meet but are unaware of who they really are. Another storyline involves a sailor named Maxence (Jacques Perrin) who is also a poet and painter as he is looking for his own ideal form of love through a painting he made as the woman in the painting looks a lot like Delphine though he’s never met her. There’s a lot that goes on yet Demy always find a way for these multiple stories with multiple characters to not overwhelm the narrative as he would write the lyrics and dialogue that would reveal a lot for all of these other storylines to make sense.

Demy’s direction is just intoxicating to watch in every sense of the word as it is shot on location in Rochefort where it is made to look like a real small town that has a lot more to offer. Shot on a 2:35:1 aspect ratio, Demy uses the widescreen format to his advantage not just in the wide shot where he captures so much coverage in the town but also in the scope of the dancing. Aided by choreographer Norman Meen, the dancing in the film definitely has a sense of movement that Demy would follow not just in wide and medium shots but also know when to cut and get it from another angle or for a close-up. Demy would use some tracking shots to follow some of the dancing while setting up moments from one part of a street to another to follow one character’s narrative into another where it all connects. Demy would also create simple moments for the non-musical scenes as it is more about the characters and what they would do where it would either set up a musical moment or something that would become a plot-point for a character. Even as its climax is at the fair where it is about these twin sisters finally reaching their dream to go to Paris and make something of themselves but also leave behind the idea that they might’ve never found their ideal figures of love. Overall, Demy creates a wondrous and majestic film about twin sisters trying to find love in their small port hometown.

Cinematographer Ghislain Cloquet does amazing work with the film’s colorful and gorgeous cinematography as much of the film is shot in the daytime where it captures the fullness and beauty of the colors as well as the locations with very few scenes shot at night that includes a dinner at Yvonne’s café. Editor Jean Hamon does excellent work with the editing as it does have elements of style but knows how to play with the rhythm of the music and in the dancing as it’s one of the film’s highlights. Production designer Bernard Evein and set decorator Louis Seuret do brilliant work with the set design from the look of Yvonne’s café as well as some of the staging in the fair and the music shop owned by Simon.

Costume designers Jacqueline Moreau and Marie-Claude Fouquet do fantastic work with the costumes as it adds to the film’s gorgeous visuals with its vibrant colors and how it play into the personality of the characters in the film. The sound work of Jacques Maumont is superb as it is very straightforward while capturing the atmosphere of the fair and some of the other local events. The film’s music by Michel Legrand is incredible as it is a highlight of the film with its playful score and the songs written with Demy as it says so much about the characters and helping to drive the story.

The film’s phenomenal cast include some notable small roles from Genevieve Thenier as Yvonne’s café waitress Josette, Pamela Hart and Leslie North as a couple of performers that dump Etienne and Bill for sailors, Patrick Jeantet as Yvonne’s youngest son Booboo, Rene Bazart as Yvonne’s father, Henri Cremieux as an old friend of Yvonne’s father who visits the café, and Jacques Riberolles as Delphine’s art gallery boyfriend Guillaume who is quite full of himself as the two break-up early in the film. Michel Piccoli is superb as Simon as a music shop owner who is an old friend of Andy as well as a mentor of sorts for Solange with her music as he also laments over love that he’s lost many years ago. Danielle Darrieux is fantastic as Yvonne as a café owner who also laments over a lover she left behind while coping with the fact that her daughters are leaving home to pursue their dreams as she’s the only person in the film that actually sings while everyone lip-syncs other people’s voices. Jacques Perrin is excellent as the sailor Maxence as a man who is trying to finish his service in the military while pursuing his own dreams as an artist where he hopes to find the woman he painted but never met.

George Chakaris and Grover Dale are brilliant in their respective roles as Etienne and Bill as two smooth-talking but kind carnies who try to woo Delphine and Solange while helping out Yvonne and other locals in the world of love. Gene Kelly is marvelous as Andrew Miller as an American friend of Simon who visits the small town as he gets a glimpse and falls for Solange while discovering a piece she wrote that she dropped upon their first meeting. Finally, there’s the duo of Catherine Deneuve and Francoise Dorleac in remarkable performances in their respective roles as Delphine and Solange. Deneuve and Dorleac, who are sisters in real-life, both provide a great sense of comic timing and charm as well as displaying their own vulnerabilities as women trying to find their ideal mates and their pursuit to follow their dreams in the big city despite leaving the one place they call home.

Les Demoiselles de Rochefort is a spectacular film from Jacques Demy. Featuring a great cast, gorgeous visuals, top-notch choreography, and sumptuous music. It’s a film that doesn’t just bear many elements into what makes the musical a joy to watch but it’s also backed by a universal and engaging story about finding love in a small portside town in France. In the end, Les Demoiselles de Rochefort is a tremendous film from Jacques Demy.

Jacques Demy Films: (Lola (1961 film)) - Bay of Angels - The Umbrellas of Cherbourg - Model Shop - Donkey Skin - (The Pied Piper (1972 film)) - A Slightly Pregnant Man - (Lady Oscar) - (La Naissance du Jour) – Une chambre en ville - (Parking (1985 film)) - (Three Places for the 26th) - (Turning Table)

© thevoid99 2017

Donkey Skin

Based on the fairy tale by Charles Perrault, Peau d’Ane (Donkey Skin) is the story of a princess who goes into hiding after being asked by her father to marry him. Written for the screen and directed by Jacques Demy, the film is a whimsical musical-fantasy that plays into a princess who goes from riches-to-rags in order to do something for herself. Starring Catherine Deneuve, Jean Marais, Jacques Perrin, Micheline Presle, Fernand Ledoux, Henri Cremieux, Sacha Pitoeff, and Delphine Seyrig. Peau d’Ane is a charming and delightful film from Jacques Demy.

The film is a simple fairy tale where a king deals with the death of his wife where he makes a vow to marry a woman as beautiful as her in which he picks his own daughter much to her own horror as she goes into hiding wearing donkey skin as a robe and pretends to be a scullery maid. It’s a film that plays into the many elements that are expected in fairy tales but it is also very strange considering that hints ideas of incest. There, the princess (Catherine Deneuve) would try to find ways to not go through with this ordeal as she gets the help of her fairy godmother (Delphine Seyrig) where the results would be humiliating but also a moment that would prompt the princess to find herself. The film’s screenplay does follow a traditional structure that is expected in fairy tales but with some of the dialogue that is sung as well as hints of anachronisms that add to the film’s offbeat humor. Yet, it is largely a fantasy as there aren’t any rules in that genre as it is all about the princess trying to find her true love and happiness.

Jacques Demy’s direction is very intoxicating not just in its approach to imagery but also in how he presents the film as an offbeat fairy tale. From the lavish costumes and set designs to the way servants, animals, and other things look, the film is definitely pure fantasy as Demy creates something that is off-the-wall such as a donkey who defecates gold and jewels for his king. Much of Demy’s direction include a lot of medium and wide shots to play into the look of the kingdom and its many locations in the forests while having this strange mix of elegance and dreariness in the world that the princess would embark. Notably as there are scenes of pure fantasy as it relates to the character of Prince Charming (Jacques Perrin) who would encounter the princess unaware of her true identity. It would then play into elements of comedy and mayhem as well as things that can’t explain that is more in tune with the world of fantasy. Overall, Demy creates a sensational and exhilarating film about a princess who refuses to marry her father.

Cinematographer Ghislain Cloquet does brilliant work with the film‘s very rich and colorful photography with its vibrant usage of the Technicolor film stock as plays into the beauty of the locations and settings as well as some unique lighting to play into the element of fantasy that occurs in the film. Editor Anne-Marie Crotet does excellent work with the editing with its stylish usage of slow-motion and reverse edits as well as rhythmic cuts to play into the musical elements in the film. Production designer Jim Leon and art director Jacques Dugied do amazing work with the set design from the look of the castles and its rooms to the shabby hut that the princess would live in her disguise along with the colors of the different kingdoms.

Costume designers Augusto Pace and Gitt Magrini do fantastic work with the costumes from the design of the dresses as well as the clothes the men wear as it plays into the period of time where men wore tights and the women wore lavish gowns. The sound work of Andre Hervee is terrific for some of the sound effects in some of the magical moments as well as some of the moments that goes on in some of the celebrations and other quieter scenes. The film’s music by Michel Legrand is incredible for not just its playful orchestral score but also in the songs that are created for the film as it play into emotions of a few of its characters as well as the sense of hope that they long for as the music is a major highlight of the film.

The film’s marvelous cast includes notable small roles from Pierre Repp as the Red Queen’s messenger Thibauld, Sacha Pitoeff as prime minister for the blue kingdom, Louise Chevalier as the old woman who would give the princess the work she needs to do at the farm, Henri Cremieux as the red kingdom’s physician, Fernand Ledoux and Micheline Presle in their respective roles as the Red King and Queen, and Jean Servais as the voice of the film narrator’s who only appears for the film’s opening and closing sections. Jacques Perrin is excellent as Prince Charming as a young prince who encounters the Princess unaware of her true identity nor her disguise as he falls for her and tries to find out who she is.

Delphine Seyrig is fantastic as the Fairy Godmother who tries to help the Princess while doing things that would baffle the Princess as Seyrig brings a lot of charm to her role including some amazing entrances. Jean Marais is superb as the King as a man who is grief-stricken by the loss of his wife where he is convinced that the only way to save his kingdom is to marry his daughter unaware of how disgusting it is. Finally, there’s Catherine Deneuve in a phenomenal performance in the dual role as the Queen and as her daughter in the Princess where her role in the former is very brief while the latter has Deneuve do a lot more in terms of singing and dealing with her situation as she would provide some charm and humility to her performance as it’s one of Deneuve’s finest roles.

Peau d’Ane is a remarkable film from Jacques Demy. Armed with a great cast, sumptuous visuals, and delightful music, the film isn’t just a fascinating take on a French fairytale but also a film that manages to infuse a lot of quirks and ideas that subvert many of its expectations. In the end, Peau d’Ane is an exquisitely rich film from Jacques Demy.

Jacques Demy Films: (Lola (1961 film)) - Bay of Angels - The Umbrellas of Cherbourg - The Young Girls of Rochefort - Model Shop - (The Pied Piper (1972 film)) - A Slightly Pregnant Man - (Lady Oscar) - (La Naissance du Jour) - Une chambre en ville - (Parking (1985 film)) - (Three Places for the 26th) - Turning Table)

© thevoid99 2015

2013 Cannes Marathon: Z

(Winner of the Jury Prize & Best Actor Prize to Jean-Louis Trintignant at the 1969 Cannes Film Festival)

Based on the novel by Vassilis Vassilikos, Z is a loosely-based story on the assassination of Greek left-wing activist Gregoris Lambrakis as a murder is covered up by the government prompting a magistrate to finally uncover the truth. Directed by Costa-Gavras and screenplay by Costa-Gavras and Jorge Semprun, the film is a political thriller set during a tense period of civil unrest as well as exploring a world that is in absolute chaos. Starring Jean-Louis Trintignant, Yves Montand, Irene Papas, and Jacques Perrin. Z is a provocative yet intriguing film from Costa-Garvas.

The film is a look into the assassination of a left-wing activist (Yves Montand) who is assassinated during a troubling period in Greece as many around him question about the murder. A government magistrate (Jean-Louis Trintignant) leads the investigation where he uncovers a lot of unsettling things including secret government extremist groups and other things as witnesses to the incident are being targeted as well. It’s all part of a world in which a government is trying to protect themselves from scandal that would ruin the reputation of this country yet a magistrate begins to learn that not only is he working for the bad guys but that the people he’s working for are committing atrocities that forces him to try and do the right thing.

The screenplay has a very unique structure that is traditional but is more about the element of suspense that occurs. The first is about this left-wing activist who arrives to find a place to hold a meeting and on that night of the meeting, he is attacked by mysterious men and eventually given a fatal hit in the head with a club as his personnel try to help him. The second act is about the government covering up while a photojournalist (Jacques Perrin) is trying to conduct his own investigation as he meets up with the activist’s wife (Irene Papas) who ravaged with grief and confusion over what happened. The third act relates to the magistrate’s investigation as well as his own discoveries with the help of the photojournalist about this secret group of right-wing extremists and the people they’re targeting.

It’s not just the structure and the dialogue that makes the screenplay interesting but also the characters as the activist is a man who wants to ensure a world that can be peaceful as he is a major threat to this right-wing, military-driven government. The activist is also a flawed man who is going through his own personal issues relating to his wife as once she arrives following the assassination, she is upset by what happened but also display mixed feelings over what happened. The magistrate is a man who lurks in the shadow for most of the film’s first two acts as he finally comes to his own in the third act as he talks to a few witnesses and doctors where he eventually comes to the conclusion that what happened was a murder as he starts to look towards the people he’s working for.

Costa-Gavras’ direction is very engaging for the way he captures a world of civil unrest in one of the most crucial periods in Greek history. Though it was shot in France and parts of Algeria while the language is spoken in French. The direction still has this element that an incident like this could happen anywhere in Europe where a lot of social changes are happening. There is an element of cinema verite in the way the direction is played out for the protest scenes as well as the assassination scene.

There is also some very entrancing compositions and stylistic shots for some of the film’s drama and suspenseful moments where Costa-Gavras aims for something that adds an air of mystery. The film also features some very intriguing ideas about the world at large as well as an epilogue that is really more in tune with how hard it is to change the world. Overall, Costa-Garvas creates a very intense yet chilling film about government conspiracy and one man’s attempt to do things right in a troubling world.

Cinematographer Raoul Coutard does amazing work with the film‘s photography from the sunny exteriors of the locations to more stylish lights for the scenes in night in its interior and exterior settings to create some dark moods for the film. Editor Francoise Bonnot does brilliant work with the editing as it‘s very stylized with jump-cuts and some flashback montages as it is truly a highlight of the film. Production designer Jacques D’Ovidio does excellent work with the set pieces such as the film‘s hospital operating room as well as the scenes in the hotel and halls where some of the protestors meet.

Costume designer Piet Bolscher does nice work with the costumes as it is a mixture of casual clothing along with military uniforms to present the military men. Sound editor Michele Boehm does terrific work with the sound to capture the atmosphere of the protests and meetings as well as some eerie moments in some of the film‘s intimate moments. The film’s music by Mikis Theodorakis is fantastic for its mixture of intense Greek folk music with its string instruments to some bits of rock music as it helps create a chilling mood for the film as it’s another highlight of the film.

The film’s cast is superb as it features some notable small performances from Georges Geret as a witness got attacked, Magali Noel as that witness’ right-wing sister, Marcel Bozzuffi and Renato Salvatori as two assassins, Francois Perier as the public prosecutor, Clotilde Janno as a personnel of the activist, Charles Denner as the activist’s lawyer Manuel, and Pierre Dux as the general whom the magistrate suspects. Jacques Perrin is excellent as a determined photojournalist seeking to show the truth in any way or form as he hopes to do things right. Irene Papas is wonderful as the activist’s wife Helene who is trying to come to terms with her loss as well as all of her feelings towards her husband. Yves Montand is great in a small yet memorable performance as the activist trying to create peace in a period of civil unrest while eager to do things right for everyone including his family. Finally, there’s Jean-Louis Trintignant in an incredible performance as the magistrate as a man who starts off as an observer and then becoming someone trying to do what is right as he is aware of the consequences that he might face.

Z is a phenomenal film from Costa-Gavras that features brilliant performances from Jean-Louis Tringtignant and Yves Montand. The film is a masterfully-crafted thriller that explores the world of government cover-ups and conspiracies as well as a look into one of the most chaotic periods in the history of the world. In the end, Z is a remarkable film from Costa-Gavras.

Costa-Gavras Films: (The Sleeping Car Murders) - (Shock Troops) - The Confession (1970 film) - (State of Siege) - (Special Section) - (Womanlight) - Missing (1982 film) - (Hanna K.) - (Family Business (1986 film)) - (Betrayed) - (Music Box) - (The Little Apocalypse) - (Mad City) - (Amen.) - (Le Couperet) - (Eden is West) - (Le Capital)

© thevoid99 2013

Cinema Paradiso

Originally Written and Posted at Epinions.com on 8/22/07 w/ Additional Edits & Revisions.

Written and directed by Giuseppe Tornatore, Cinema Paradiso tells the story of a film director recalling the memories of his life when a man introduces him as a boy the world of cinema. Through the images, the cinema is played in a little village in Sicily while causing all sorts of controversy. Through his years growing up, the boy becomes a man and has to learn about the sacrifices and such into what it takes to become the director that he is now. Starring Salvatore Cascio, Marco Leonardi, Philippe Noiret, Jacques Perrin, and Leopoldo Trieste. Cinema Paradiso is an inspiring and heartwarming film from Giuseppe Tornatore.

A man named Salvatore (Jacques Perrin) returns home to his Roman apartment where his girlfriend that his mother (Pupella Maggio) has called about the death of a man named Alfredo (Philippe Noiret). Salvatore is forced to recall his life with as a boy in a Sicilian village where he was an altar boy (Salvatore Cascio) by day while living with his mother (Antonella Attili) and little sister as he was called Toto. At this little village square is a theater that Toto loves called Cinema Paradiso where Toto sneaks into a Jean Renoir movie to see Father Adelfio (Leopoldo Trieste) watching and ringing a bell to cut a kissing scene to be shown as the theater’s projectionist Alfredo makes note for the priest. Though Toto would sneak in to the movies where he would get into trouble with his mother, he is able to befriend Alfredo who has managed to save the images that he was forced to cut.

With Alfredo teaching Toto how to be a projectionist after Toto helped him pass night school lessons, the two decide to hold a double feature one night where they decide to show the film outside of the theater. Yet, it would cause trouble where the theater got burned down as Toto would save Alfredo. When a local named Spaccafico (Enzo Cannavale) won the lottery and decided to rebuild Cinema Paradiso, the town manages to keep going as Toto becomes the new projectionist with Alfredo as his mentor. Several years alter as Toto (Marco Leonardi) has become 17 with aspirations to become a filmmaker. He falls for a young woman named Elena (Agnese Nano) as he hopes to win over as he asks Alfredo for help. Though Salvatore hopes to win her heart, he deals with the realities that is a sharp contrast to the world of films that aren’t real. With Elena gone, Salvatore ponders what to do as Alfredo tells him to go after his dream.

Returning home years later as a successful filmmaker, Salvatore reflects on his life and the town he grew up in where he finds a final present from the man who taught him about life and film.

While the film isn't just a love letter to cinema, it's also a coming of age story of how cinema changed a boy's young life into the man that he is now. The film is also about sacrifices in what the adult Salvatore is forced to see with the people he knew all those years ago. Writer/director Giuseppe Tornatore creates a film that is obvious from an experience that is personal to him. The film's script is wonderfully structured with the first act about Toto, his friendship with Alfredo, and his life at the Cinema Paradiso in its first incarnation. The second act is about the theater rebuilt with Salvatore as the projectionist and his attraction to Elena. The third and final act is about his departure from Sicily and his return 30 years later.

Tornatore's direction is imaginative as it has elements of nostalgia and heartbreak where the images he captures inside that beautiful theater is a reminder of how powerful an image on film is. From the way he takes a close-up to understand the emotions to how the film shifts from one period to another. Given the fact that he shot the film on location in Sicily, it has a personal feel that it's very inspirational. The whole film is mesmerizing from start to finish where by the final moments of the film, it becomes a tearjerker in every way. Some might call it manipulative but given the idea of what the film is about and Tornatore's personal touch, it's one that works in channeling its emotions. It's truly some of the most imaginative and touching directions ever made on film.

Cinematographer Blasco Giurato brings a wonderful look to the film features gorgeous, exterior shots from day and night to the look inside the theater that is just amazing. Production designer Andrea Cristani creates an amazing look of the theater from the lion's head that shoots out the film to the balcony in the theater. The theater itself is a place filled with magic and elegance. Costume designer Beatrice Bordone does an excellent job in capturing the look of the clothes worn in the 1940s and 1950s, notably the dresses that Elena wears.

Editor Mario Morra does some wonderful work in the cutting, notably the shifting of sequences where Alfredo touches the boy Toto's face and then cuts to Alfredo and then cuts to the face of the young Salvatore. Sound recordist Massimo Loffredi does some magic in the sound to capture the way people react to a film shown outside of the theater in one brilliant scene.

The film's amazingly elegant, romantic film score could've been done by any composer but instead, it goes to the Maestro himself, Ennio Morricone. Along with a love theme by his daughter Andrea, the film's music is filled with lush arrangements and piano melodies to convey the sense of nostalgia, sentimentality, and passion that is the film itself. Morricone's musical approach is different from the legendary, operatic work that he's done with Sergio Leone. Instead, the score is very dramatic but not the point of suspense or action but rather taking it in a smoother, softer tone that shows the innocence of the film and its protagonists. The score that Ennio Morricone makes is truly one of the film's grand highlights.

Finally, there's the film's cast that includes some notable yet memorable small roles from Isa Danieli as Alfredo's wife Anna, Roberta Lena as Salvatore's sister Lia, Tano Cimarosa as the sleepy blacksmith, Nino Terza as the father of Toto's friend who is a regular at the theater, and Nicola Di Pinto as the village idiot who claims the town's square is his. Enzo Cannavale is good as Spaccafico, a resident who wins the lottery and gives the town a new theater while late in the film, reminisces with Salvatore about the town now and how he couldn't relate to the changing times. Antonella Attili is great as the young mother of Salvatore who is hoping for the return of her husband from the war while dealing with his passion. Pupella Maggio is also great as the old mother who seems to understand her son and his grief.

Agnese Nano brings an amazing presence as the very beautiful Elena who provides the kind of love and distraction that Salvatore needed while representing the alternative he needed if there was another life. Leopoldo Trieste is good as the town's strict priest who is convinced that he's trying to protect his town only to find himself having trouble with the changing times in movies.

In the three roles of Salvatore, the best is easily Salvatore Cascio as the boy Toto with his winning smile, carefree innocence, and mischievous personality who is the kind of boy you can just enjoy. Marco Leonardi is also excellent as the young Salvatore with his youthful energy and confusion in trying to figure out what to do with life. His role is the more complex as he's playing a young man trying to figure out where to go. Jacques Perrin is excellent in his brief role as the older Salvatore that also has the same innocence in his face as his child counterpart had while carrying a sense of sadness about his own life.

The film's best performance goes to the late Philippe Noiret as Alfredo. Noiret brings a wonderful mix of humor, wisdom, and sentimentality to the role of a man who becomes an unlikely father figure to a young boy in playing a role in his life. The French actor has a wonderful presence early in the film as a mentor who shows a young boy about the wonders of cinema. In the film's second half, his experience on life helps the course of the film while telling Salvatore what to do about his life. It's a great performance from the late French actor who wowed Italy.

Cinema Paradiso is a ravishing and heartwarming film from Giuseppe Tornatore. Featuring a great cast and an engaging story, it is truly one of the best films ever about going to the movies. It’s also the film that is very accessible for those who love melodrama, comedy, and romance as it is a film that can appeal to a wide audience. In the end, Cinema Paradiso is a ravishing film from Giuseppe Tornatore.

Giuseppe Tornatore Films: (The Professor) - (Everybody’s Fine (1990 film)) - (Especially on Sunday) - (A Pure Formality) - (The Star Maker) - (The Legend of 1900) - (Malena) - (The Unknown Woman) - (Baaria) - (L’ultimo gattopardo: Ritratto di Goffredo Lombardo)

© thevoid99 2012