Tagged Elio Petri

Between 1961 and 1968, Elio Petri established himself as one of the most distinctive voices of Italian post-neo-realist cinema. His 1961 feature debut L’Assassino is an often-overlooked example of the filmic gi...

In his later years Elio Petri’s sardonic sense of humour appears to have allowed him to savour the irony of having been perhaps the only front-rank Italian director to have been refused entry to the prestigious...

Among the great wave of film debuts in the late 1950s and early 1960s, that of Rome-born director Elio Petri is often overshadowed by those of his contemporaries both in Italy and abroad. Even in terms of Petri...

In the early to mid 1960s, the Italian cinema was going through a sort of renaissance, as it not only produced important films by such renowned cineastes as Federico Fellini, Bernardo Bertolucci, Luchino Viscon...

Beginning with the socially-committed films of neo-realism, postwar Italian cinema became, perhaps even more than Italian postwar literature, a form that inherently tended to reflect and refract its own social ...

Although Elio Petri’s second film, I giorni contati (1962), has all the characteristics of the director’s debut feature, L’assassino (1961), it was written (with Tonino Guerra) before it. It is a personal story...

Elio Petri’s death in 1982 at the age of only 53 robbed Italy, and the world, of one of the most eclectic and audacious directors to have emerged in the crowded jostle that was the golden age of Italian postwar...