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"I'm a volcano of ideas"

Any film that manages to offend Bunuel & Antonioni has to be worth watching. "Fists In The Pocket" remains one of the most intense, hysterical, hard-boiled conjurations of lust, longing, disgust and boredom I've ever seen and so it becomes the debut in a new series wherein I shove films I love (and some of the best critique of those films) at you, and you lap it up like the slavering sub-human dog-creature you are, I am, we all are. Paola Pitagora is the new love of your life and Lou Castel your new favourite loon. Enjoy. 

watch the film in full here 

"This first film by Marco Bellocchio must surely be one of the most astonishing directorial débuts in the history of movies, yet it is hard to know how to react to it. The direction is exhilaratingly cool and assured, and the whole movie is charged with temperament, but the material is wild. It's about a bourgeois family of diseased monsters; epileptic fits multiply between bouts of matricide, fratricide, and incest. The material is so savage that the movie often seems intended to be funny, but why it was so intended isn't clear. It features the best strange-brother-and-sister act since Les Enfants Terribles (1948): Lou Castel, with his pug-dog manner, and Paola Pitagora, looking like a debauched gazelle. Cinematography by Alberto Marrama; music by Ennio Morricone. In Italian." - Pauline Kael.

(from David Thomson's 'Have You Seen: A Personal Introduction To 1000 Films')

"A long-overdue screamer from the semi-forgotten, underscreened New Wave archives, Marco Bellocchio's 1965 debut "started something" in Italian cinema, according to DVD talking head Bernardo Bertolucci—and the attack on everything old-world Catholic, provincial, late baroque, aristocratic, and traditional remains fierce and disconcerting. A family bell jar of sociopathy and funeral rites, Fists centers on a decaying, villa-occupying family that could be characterized as Milanese Gothic—brawls are common, homicide always threatens, and epilepsy, impressionistically observed as a metaphor for psychosexual entropy, is rampant. It's one of those films that mysteriously make every image—a bonfire of bedroom furniture, a caged chinchilla, a family dinner on the verge of explosion—resonate with social disquiet. As the family's middle son and primary agent of manic- depressive chaos, first-time star Lou Castel is an unforgettable figure, a dissolve between Brando and Matthew Perry, simultaneously affectless and hyperactive, as if the hot wire connecting feeling and expression were cut and giving off sparks. (Just as hypnotizing is Paola Pitagora as the young, sexy sister, weirdly creepy in her misanthropic prettiness—that is, until a line is crossed in the clan's degeneration, sending her into a spiral.)" - Michael Atkinson, Village Voice 


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