Tarkovsky's Cinema

Between August 23 and 31, 1983, at the "Circo Massimo", in Rome, there was a musical event that brought together artists from Bahia. This film brings a recording of the event, also featuring backstage, rehearsals, testimonies and some relaxing moments of these great names in Bahia's music.

An extensive interview with legendary director Andrei Tarkovsky conducted by Donatello Baglivo.

A poetic and intimate scene-by-scene look into the filming of Tarkovsky's 'Nostalghia'.

1600, Southern Italy is under the Spanish Government. A few years before an attempt at rebellion, inspired by the preaching of the philosopher and monk Tommaso Campanella, is severely quelled by the Government. Campanella, under the charge of the plot, is put into a prison in Naples and waits for the conclusion of an endless process. Throughout the Calabrian countries his name is wrapped up in legend, he becomes almost a myth. Someone believes he has escaped from prison and wanders about under a false name.

Police are in hot pursuit of a criminal who is evading capture on a speeding motorbike. He takes refuge in an overgrown castle’s grounds and sees a pale woman burying a corpse in a shallow grave. Thirteen years later, after being recaptured and serving his sentence, the man returns to the castle, intent on blackmail — and maybe a few other things.

A documentary incorporating footage of Montgomery Clift’s most memorable films; interviews with family and friends, and rare archival material stretching back to his childhood. What develops is the story of an intense young boy who yearned for stardom, achieved notable success in such classic films as From Here to Eternity and I Confess, only to be ruined by alcohol addiction and his inability to face his own fears and homosexual desires. Montgomery Clift, as this film portrays him, may not have been a happy man but he never compromised his acting talents for Hollywood.

Great encounter in Rome with filmmaker Andrei Tarkovsky where he develops some of his major ideas on artistic creation and in particular the importance of the temporal dimension in his conception of cinema. Tarkovsky also comments on excerpts from film directors that inspired him like Kurosawa, Buñuel and Antonioni. The "prologue" at the beginning is a quote from Tarkovsky's film Andrei Rublev.

Friends, acquaintances, family, and artists who knew Federico bring us a never-before-seen portrait of him, compiled from interviews conducted by Donatella Baglivo over the decades. The result is a cinematic biography of a man with an immense sense of irony, intelligence, and an uncommon artistic sensibility.

The house as the abode of human interiority, the space of the house and the natural elements that surround it are inextricably united with the soul of the protagonist who is overwhelmed by the power of an environment now in stark contrast to everyday life, a childhood that has now disappeared over time it resurfaces. D O M is also dedicated to the memory of Sara Iommi, researcher and theorist of cinema at the D.a.m.s of Bologna who died prematurely in 2016