Seven Close Encounters 2016 / La dernière femme / France, Italy 1976
Jitka Rudolfová presents
As early as the 1970s Ferreri was already banking on what today’s dramatists have developed even further, when he gave inner conflicts a physical, shocking and critical form. He was obsessed by the mechanisms of power games and saw what they did to couples’ relationships, where the man and woman are never able to form a harmonic union.
“It was only recently that I discovered Ferreri’s film and it really made an impact on me, with its brilliant treatment of the theme – the relationship between a man and a woman, where “true” masculinity finds itself in crisis. Actor Václav Neužil drew my attention to it, saying that he was curious about the shoot itself, since Gérard Depardieu appears naked with an erect penis most of the time. I was initially put off by this, it seemed like an unnecessary “attraction” that I didn’t think I really wanted to see. But I was wide of the mark! The sex scenes and nudity in the film aren’t merely directorial or cinematographic “jerking off.” They are part of a precise and deliberate allegory of a relationship inexorably heading towards its unexpected and gritty finale.” – Jitka Rudolfová. As early as the 1970s Ferreri was already banking on what today’s dramatists have developed even further, when he gave inner conflicts a physical, shocking and critical form. He was obsessed by the mechanisms of power games and saw what they did to couples’ relationships, where the man and woman are never able to form a harmonic union.
Zdena Škapová
118 min / Color, 35 mm
Director Marco Ferreri
/ Screenplay Rafael Azcona, Marco Ferreri, Dante Matelli
/ Dir. of Photography Luciano Tovoli
/ Music Philippe Sarde
/ Editor Enzo Meniconi
/ Art Director Michel de Broin
/ Producer Edmondo Amati
/ Production Flaminia Produzioni Cinematografiche
/ Coproduction Les Productions Jacques Roitfeld
/ Cast Gérard Depardieu, Ornella Muti, Michel Piccoli
/ Sales Park Circus Group
Marco Ferreri (b. 1928, Milan – 1997, Paris), Italian director, screenwriter and actor who etched his name into the annals of world cinema with provocative works that attacked expressions of moral hypocrisy and stereotypes of bourgeois culture. He played a fundamental role in formulating one of the key artistic themes of the latter half of the 20th century, namely the existential crisis of modern man. Ferreri’s films are allegorical in nature, while they draw a taut line between an abstract narrative and a naturalistic, aggressive style that transcends all ideological and social taboos: Queen Bee (1962), The Ape Woman (1963), Dillinger Is Dead (1968), Liza (1972), The Big Feast (1973), Bye Bye Monkey (1977), The Story of Piera (1983), The House of Smiles (1990), The Flesh, 1991). In their symbolism, anarchism and sarcastic tone, Ferreri’s films are reminiscent of Buñuel, earning him several of the highest awards at prestigious festivals.
Park Circus Group
15 Woodside Crescent, G37UL, Glasgow
United Kingdom
Phone: +44 141 332 2175
E-mail: [email protected]
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