Review Category: DVD/Blu Ray

Enamoured with the advent of television and recognising its power as a medium, Welles’ developed a style of travel journal that is still an integral part of travel shows today. Part documentary, part home movie (he sometimes used a single camera) and part cinematic essay, Welles explores not the world as the title says, but his beloved Europe. The European continent had enamoured Welles since he travelled there when he was younger, and the continent bolstered his love of cinema.

The episodes are not perfect; some are incomplete, while others are deeply flawed. However, they remain compelling, only just for Welles’ perception of Europe but as well as the footage of a post-war Europe. His fascinating insight into the Basque Country is also particularly brilliant to watch. You will find that his narration and the style of the documentaries are slow, but don’t forget these were filmed for television in its infancy, and here Welles’ already has a firm grasp on the medium.

The most interesting portion of this release, however, is the extras. Though Revisiting Vienna is amazing to watch with Welles visiting key locations from The Third Man, the extras include a documentary and reconstruction of The Tragedy of Lurs, which was the unfinished seventh episode of the series which concerned the controversial Dominici murder case in France. It’s an incredible insight in to what could have been. There was not stuff like this being aired on television in 1955 and Welles investigation could be viewed as a template for many documentary series which followed many decades later. Also featured is an interview with Welles in which he discusses his career.

The Blu-ray is a must for any fan of cinema and any fan of Welles. It is a curious rarity, not perfect and incomplete, which shows Welles influence as a documentary maker of television, recognising the power of the box from its very inception.

AROUND THE WORLD WITH ORSON WELLES / CERT: E / DIRECTOR & SCREENPLAY: ORSON WELLES / STARRING: ORSON WELLES, ELAINE DUNDY, KENNETH TYNAN, ART BUCHWALD / RELEASE DATE: OUT NOW

 

Set during Napoleon’s invasion of Spain, when a French Officer discovers a book filled with curious illustrations and text he cannot read, he becomes so engrossed in the book that when the Spanish Resistance arrive and take him prisoner he barely notices. Together, the captured Officer and the Resistance leader decipher the Saragossa Manuscript and unearth the amazing tale of Alfonso van Worden (Zbigniew Cybulski) who, having been separated from his regiment, encounters a litany of remarkable characters and finds himself drawn into a seemingly endless web of stories within stories about demons and succubi, mistaken identities and duels of honour, beautiful princesses and the dead returning to warn the living about the purgatory that awaits them. It is impossible to tell where the lies end and the truth begins, and as van Worden’s companions draw him deeper and deeper into the maze of their imaginations he is unaware that how he ultimately reacts to the stories he is told may ultimately and irrevocably determine his fate.

The Saragossa Manuscript is, like the titular manuscript itself, a wonderful enigma: part fantasy, part action adventure, part gothic romance, part farce, all of it extraordinary. It is, in our opinion, one of the greatest films ever made and we’re not alone in that belief – Jerry Garcia of The Grateful Dead, Martin Scorsese, Francis Ford Coppola, Luis Bunuel and David Lynch are all ranked among its admirers. The Saragossa Manuscript is that rare thing: a masterpiece truly worthy of that description.

For that reason it is exciting to see a Blu-ray edition finally reach UK shores. The film has been available on bare-bones DVD for some time so we had high hopes that the Blu-ray might be something special.

The film itself looks gorgeous; the picture is superb – shot in black and white, every detail crisp and clear; the audio is perfect and serves the film’s tremendous score, by Krzysztof Penderecki, particularly well. But now for the downsides. The placement of the subtitles, which are pretty crucial if you don’t understand Polish (an English dub is thankfully not provided), makes them quite difficult to read. But more disappointing than that are the supplements; there are none, not even liner notes, which is an opportunity sadly missed. There is a fascinating analysis to be made of Saragossa which would have made a terrific commentary (Neil Gaiman’s another fan of the film… why not bring him on board?), not to mention that the life of the novel’s author was pretty spectacular as well – after years of adventuring and indulging in various scandalous relationships (there were rumours of incest concerning his second marriage), Jan Potocki committed suicide with a silver bullet he allegedly forged himself from a sugar bowl handle and had blessed by a chaplain. This December will be the 200th anniversary of his death. Surely that alone deserves a fully-loaded special edition of Wojcek Has’ masterwork?

But until that special edition comes along (we’re not holding our breath), don’t miss this new release. And read the book upon which the film is based. You won’t be disappointed in that either.

THE SARAGOSSA MANUSCRIPT / CERT: 15 / DIRECTOR: WOJCIECH HAS / SCREENPLAY: TADEUSZ KWIATKOWSKI / STARRING: ZBIGNIEW CYBULSKI, IGA CEMBRZYNSKA, ELZBIETA CZYZEWSKA, GUSTAW HOLOUBEK / RELEASE DATE: SEPTEMBER 7TH

 

The Circus is Charlie Chaplin at his delightful best – a simple and endearing story wrapped around an ingenious cavalcade of sight gags and slapstick that is thankfully far less schmaltzy and sentimental than many of the Little Tramp’s better-known outings. Artificial Eye’s presentation of the movie is equally as excellent but sadly, apart from a brief but informative introduction from Chaplin biographer David Robinson, the other extras are uninspiring: there’s a very brief outtakes reel, extracts from other films in Curzon’s Chaplin Collection and some rushes from The Circus that are continuous takes of the same scene (a scene that was ultimately deleted from the finished film) which, although briefly amusing, wears out its welcome very fast.

Still, it’s the main attraction we came to see and The Circus won’t disappoint. This is classic Chaplin at the height of his riotous brilliance. If you enjoy Chaplin you’ll love The Circus.

Special Features: Introduction from David Robinson / Outtakes reel / Extracts from the Chaplin Collection / Deleted scenes

THE CIRCUS / CERT: U / DIRECTOR & SCREENPLAY: CHARLIE CHAPLIN / STARRING: CHARLIE CHAPLIN, MERNA KENNEDY, AL ERNEST GARCIA, HARRY CROCKER / RELEASE DATE: OUT NOW

 

Lilyhammer is a hybrid that mixes Nordic noir with the US gangster genre, underlined by the opening credits that show a car driving over a bridge in New York then cutting to a train speeding through the Norwegian countryside. At the same time the theme music changes pace and style to bring you to this new setting.

Its star, Frank “The Fixer” Tagliano (Steven Van Zandt) is a mobster who chooses to relocate to Lillehammer, Norway when he enters the FBI protection programme, after testifying against his former buddies. His unusual selection was inspired by the fact that he enjoyed watching the TV coverage of the 1994 Winter Olympics when it was held in Lillehammer, Norway. And that is the least quirky aspect of this series.

Frank, going under the new name of Giovanni Henriksen, soon gets back into his old mobster way of life and establishes himself as the owner of the Flamingo club, which is run by his hapless business partner and friend Torgeir Lien.

The third season takes some of the action beyond Norway to New York City and Rio de Janeiro. In Brazil, Torgeir’s brother (Roar Lien) gets set up in a drug deal and, in New York, Frank’s old mates discover where he’s hiding and decide to whack him.

Lilyhammer is a fast-paced comedy drama with a string of quirky characters and subplots. Most of the dialogue is in Norwegian with English subtitles, though Franks speaks in English and understands Norwegian and most of the foreign gangsters speak English peppered with plenty of swear words!

Besides Frank, who bulldozes his way through what he would call the commie bullshit of Norwegian society, nearly every other character stands out. Torquier is a bug-eyed loyal servant for Frank, but he does have moral standards if pushed too far by Frank. Even when he takes up knitting it leads to the murder of a very unsavoury British gangster and a series of ghostly encounters that sends him to the edge. Another regular character is Jan Johansen (Fridtjov Såheim), who is a hypocritical self-serving ‘right on’ citizen who gets sucked into Frank’s orbit.

The whole mixture takes us from the familiar to the wildest and most surreal places on television. Many of the loose ends of the story strands are completed in Season 3 and since Netflix has stopped funding it, so it seems unlikely it will return to our screens. Shame, since this is a brave project that deserves repeated viewings and transcends the boundaries of different genres and expectations.

LILYHAMMER: SEASON 3 / CERT: 18 / DIRECTOR: VARIOUS / SCREENPLAY: ANNE BJORNSTAD, EILIF SKODVIN, STEVEN VAN ZANDT / STARRING: STEVEN VAN ZANDT, TROND FAUSA AURVAG, MARIAN SAASTAD OTTESEN, ANNE KRIGSVOLL, STEINAR SAGEN, PAUL KAYE / RELEASE DATE: OUT NOW

 

Chuck Workman’s insightful documentary, Magician, aims to readdress this perception. Narrated largely by Welles himself via archive interviews, alongside new and historical interviews with co-workers, family members and celebrity fans (including Steven Spielberg, Martin Scorsese, George Lucas, Peter Bogdanovich and Simon Callow), Workman paints a very different picture.

Welles’ ability was obvious from an early age. He was starring in and directing plays whilst at school. In his teens he blagged his way into starring roles in Irish theatre. By his early 20s, he was back in America with his own reparatory company. Radio soon followed, including his now legendary version of War of the Worlds. By the time he moved to Hollywood (somewhat reluctantly he claimed), Welles was already a huge star.

After his first film, Kane upset newspaper baron Randolph Hurst – upon whom it was loosely based – RKO got scared, reigning in the young artist and butchering his follow up, The Magnificent Ambersons. From then on, his relationship with Hollywood was never the same. Welles continued to direct and act in both films and theatre for over 30 years, to mixed success. There were occasional critical and commercial hits, such as Touch of Evil (another film recut against the director’s wishes), but he never again matched his early success. When he died in 1985, he was known more for his celebrity than his work – his appearances in numerous substandard films and adverts having cheapened his legacy.

Using copious clips from his films – including his numerous unfinished projects – Workman lets Welles’ genius speak for itself. Rather than paint the traditional picture of Welles’ as an artist in decline, Workman portrays Welles as both ahead of his time (which he unquestionably was) and someone whose talent continued to flourish throughout his career. Simon Callow – who has written several acclaimed biographies of the director, and features extensively in the film – even suggests 1965’s Chimes at Midnight, not Citizen Kane, may well in fact be his best film.

What is clear is that Welles was never meant to fit into the studio system. Unlike his contemporary Hitchcock, Welles’ brand of filmmaking was incompatible with what studios wanted. Proclaimed by Richard Linklater as “the patron saint of indie filmmakers”, he became an indie filmmaker at a time when indie filmmaking didn’t exist, working largely in Europe, using money wherever he could find it.

For a film subtitled The Astonishing Life and Work of Orson Welles, Magician also skims over much of his personal life. We’re shown famous actresses that Welles was known to have associated with, but the film won’t go so far as to say they were his lovers. Likewise, rumours of Welles’ alleged homosexuality and his illegitimate son (the director Michael Lindsay-Hogg) are mentioned, but not dwelled on. Magician is very much focused on mythologizing Welles, not humanising him. The work he took in later life – where he accepted pretty much any role if the money was right – is glossed over in a short montage, with an unquestioned explanation from Welles that he only took these roles to finance his work. Likewise, his weaker films, such the widely derided F for Fake, are spared the same analysis afforded some of his more resounding successes.

Whilst Magician may not be the most objective documentary ever made – it’s clearly aiming to paint its subject in the most flattering light possible – it is nonetheless a portrait of a remarkable, if flawed, artist. Whilst it may not present as compelling case for the director’s later works as it would like, the talent on display from one of cinema’s greatest auteurs is remarkable.

Special Features: A conversation with director Chuck Workman / A personal appreciation of Orson Welles by Simon Callow

MAGICIAN: THE ASTONISHING LIFE AND WORK OF ORSON WELLES / CERT: E / DIRECTOR: CHUCK WORKMAN / SCREENPLAY: N/A / STARRING: ORSON WELLES, PETER BOGDANOVICH, SIMON CALLOW / RELEASE DATE: OUT NOW

Fellini’s Casanova is without doubt one of the most preposterous, ridiculous and indulgently stylised films you could ever envisage. It is also one of the most extraordinarily brilliant, a savagely personal depiction of a flawed historical character who occupies a rare position in our cultural history.

A Venetian carnival acts as the prologue to a story that details a series of Casanova’s erotic encounters as the legendary lothario journeys across Europe visiting some of the 18th century’s most prominent cities. As a guest of various courts, Casanova deflowers a frisky nun, competes in a challenge as to who can satisfy a woman the most times within an hour, and suffers from great personal angst brought on by the realisation he has no real place in the world. Casanova imagines himself as a romantic figure, a man of education in a world populated by the savage – a view that brings him both adoration and ridicule.

Fellini was never more “Fellini” than he was in 1976 with his Casanova. This epic tale of uncontrollable debauchery is a work of cinematic art that has rarely been equalled. With a visual eye that has influenced directors from Tim Burton to David Lynch, Fellini’s fantastical imagery was never more realised than in Casanova. In early scenes the central character rows a gondola across a stormy sea made up from used black bin bags. Later, as Fellini’s distaste for Casanova’s lifestyle becomes increasingly clear, what he has described as the “void” in his subject’s life becomes more evident in the episodic depictions of his adventures. It is both fitting and significant that the final act of a life spent pursuing such personal gratification, despite Casanova’s insistence that he actually loves women, is a dream sequence involving an animatronic life-size doll that the anti-hero relates to more than any other.

The symbolism contained within the film is strikingly blunt and also cryptically confusing. Repeat viewings of the film would be necessary to appreciate and identify the depth of the layers hidden within Fellini’s Casanova, and even then some will remain a mystery. Perhaps this is the point, perhaps it is the intention of the director to confuse his audience while bewildering them with beautiful, overtly sexual imagery. It is poignant that at one point in the film one character turns to another and questions “You do know it’s symbolic don’t you?” The performance of Donald Sutherland as the lead emphasises this further; it being so intensely involved as to be almost comedic.

As an introduction to the Italian master’s work, Fellini’s Casanova is not the best place to start. As sweeping a statement as it may be, La Dolce Vita and 8 ½ are two of the most influential films of all time, and are more successful in their ambition than this film. They are true classics, examples of a style of modernist fantasy of which Fellini was the major exponent. Fellini’s Casanova is stunning, it is an important piece of work, but there is no doubt it isn’t as approachable as some of Fellini’s other films. Brilliant but undoubtedly flawed. A little like Casanova himself.

FELLINI’S CASANOVA / CERT: 18 / DIRECTOR & SCREENPLAY: FEDERICO FELLINI / STARRING: DONALD SUTHERLAND, TINA AUMONT, CICELY BROWNE, CARMEN SCARPITTA / RELEASE DATE: SEPTEMBER 7TH

 

As an homage to – or pastiche of – the Italian cinema of the 1960s and 1970s, Bloody Sin walks a very fine line between being authentically so bad it’s good, and being deliberately so good at what it’s doing that it’s actually bad. Certainly for modern audiences not familiar with the genre and titles it is referencing, the tone and production will come as much of a shock as anything found within the film.

A crew of pornographers from New York – in reality all Italians and badly dubbed into appallingly accented English, some so poorly that subtitles will almost certainly be required – travel to an ancient Italian castle, intending to revitalise the magazine they work for with some adventurous torture photography. There they are greeted by the castle’s German owner, Terence Fisher, whereupon two tales of old evil collide in bizarre and unpredictable ways.

Director Domiziano Christopharo’s attention to authenticity runs to casting a porn actress as his porn star, with a performance to match, while Dallas Walker as Fisher (no relation to the Hammer film director, as pointed out onscreen) is a complete cinema novice – and manages to give one of the film’s more interesting performances. Utilising split screen, stop-motion dream sequences, sepia monochrome and turning page comic book panels as between-scene screen wipes, there’s hardly a rabbit Christopharo won’t pull out of his hat in order to emulate the feel of the films he is evidently so in thrall to.

And mostly it works, often incredibly well – but perhaps too well. With a group of characters who are all either dumb or eccentric, or both, and with performances that are universally both arch and simultaneously stilted (often leaving ‘accidental’ pauses between lines of dialogue), it’s impossible to really care about anyone, which is hardly the point. The story itself – or rather, stories, with Bloody Sin deliberately confusing matters by telling its two horror narratives in parallel – is quite ostentatiously convoluted and chaotic, and only rewarding if you’re not hoping for too much in the way of sense. The pay-off is worth the wait though, and there’s never a point at which the film becomes too dull or too bewildering to follow.

Undoubtedly something of a folly, your mileage will vary considerably over whether you’ll be able to enjoy Bloody Sin. If Garth Marenghi’s Darkplace is your bag, undoubtedly you’ll find much to like – although Bloody Sin falls far short of being as intentionally funny as the Channel 4 series. If on the other hand you like your horror to be scary, your plots to follow through logically, or your characters sympathetic, you’ll probably end up disappointed. For what it’s worth, this reviewer thought it was a blast.

Extras: trailers, interviews

BLOODY SIN: ABOMINATIONS OF THE THIRD REICH / CERT: 18 / DIRECTOR: DOMIZIANO CHRISTOPHARO / SCREENPLAY: FILIPPO SANTANIELLO, DOMIZIANO CHRISTOPHARO / STARRING: DALLAS WALKER, NANCY DE LUCIA, ROBERTA GEMMA, LORENZO BALDUCCI / RELEASE DATE: TBC (UK), SEPTEMBER 8TH (US)
 

An overlooked kitsch classic of the seventies, Horror Hospital finally resurfaces in the UK, and with a sparkling HD makeover to boot!

A fallout with a band causes songwriter Jason (Askwith) to seek out a restful break, picking up a cheap spa holiday from ‘Hairy Holidays’ (fun in the sun for the under thirties promises the ad). However, after only just making it out of the seedy booking office without having his pants ripped from him by the salacious Mr Pollack (a gloriously camp turn from an end-of-career Price), Jason has more stress when he discovers the treatment Dr Storm (Gough) has in store for him. Young Judy (Shaw), whose Aunt (Pollock) helps run the place, tags along (and hops into his bed), Jason attempts to liberate the lobotomised ‘tenants’ of the Storm’s retreat. He doesn’t count on the leather-clad bikers who protect the abode, a sarcastic, gurning dwarf (Martin) or Storms car, which has handy blades to decapitate those who try to escape.

First things first, Horror Hospital is brilliant. Don’t get us wrong, it’s not the best made film ever, nor is bestowed with the best acting talent or script. However, it’s so much fun that one can’t help but love it. That it has languished in relative obscurity over the past decades is criminal. Lovable archetypal cheeky chappie Askwith is an absolute riot here, in a role wrote specifically for him. Diminutive Skip Martin, who had also appeared in Hammer’s Vampire Circus is a delight every second he’s on screen. He plays sinister, slapstick, surreal, and sadness with equal flair. And where do we begin with Michael Gough? He’s clearly hamming it up as much as he’s been requested to, and knows he’s above the material, but one can’t help thinking he’s enjoying it (although he always refused to talk about the film).

Even the absolutely ludicrous plot doesn’t distract from the enjoyment to be had. It’s schlocky, gory and (intentionally) hilarious, and despite very limited camera angles (most scenes were shot with little or no pick-ups for close-ups) doesn’t sag in between the action. The disc is also packed with some worthy extra features too. Ported over from an earlier foreign release is a commentary from the producer Richard Gordon (who’s no longer with us, sadly), which is packed full of anecdotes and well worth a listen. There are also two newly filmed sections, a talking head ‘making of’ that features many of the surviving crew who are interesting and revealing, and a much more fun, upbeat chat with Mr Askwith, who speaks about the film with great enthusiasm and joy.

A standout of ‘70s British horror, it’ll have you in stitches.

Extras: see above.

CERT: 18 / DIRECTOR: ANTONY BALCH / SCREENPLAY: ANTONY BALCH / STARRING: MICHAEL GOUGH, ROBIN ASKWITH, VANESSA SHAW, DENNIS PRICE, ELLEN POLLOCK, SKIP MARTIN / RELEASE DATE: OUT NOW

 

In the topsy-turvy world of cult journalism, it probably won’t surprise you to know that one comes across a lot of independent movies. Now, don’t get us wrong here; a lot of them are rather good. Not constrained by the mores of mainstream cinema, rules can be daringly ignored and ground fearlessly broken. However, it has to be said that as worthy as these movies can be, those miniscule budgets mean that you have to cut them a bit of slack. Mates of the director might be cast in key roles, FX may be strained to the point of breaking and, we suspect, the on-set catering may have been on the basic side. So it comes as a great pleasure (and a bit of a change) to find oneself watching a thoroughly indie-flick and, by the halfway point, realising that you’d forgotten it was made for next to nothing.

The first thing Judas Ghost gets right is a fairly good story penned by Simon R. Green and based on his own Ghost Finders novels. So we have a team of professional ghost-hunters dispatched from the Carnacki Institute to a seemingly benign village hall to do something about recent weird goings-on. Looks like a simple job so they even have a cameraman in tow to shoot a training film for the new recruits. Of course it turns out to be far from straightforward (otherwise it’d be a bit of a dull movie) and before we know it we’ve got moving doorways, unremitting darkness, buckets of blood, genuine mystery and more mild-to-extreme peril than you can wave holy water popsicle at.

We all love professional ghost/vampire/alien hunters, so it’s off to a good start from the get-go and setting the entire film in one room is, of course, a very clever move when you don’t have the cash to spend. It’s actually a very convincing and specially-built set (in Portishead, of all places) so director Simon Pearce gets the most out of the chosen location with more flexibility than the real thing would provide. But it’s the basics that count so the engaging script and more than capable cast make up for any other shortfalls. Martin Delaney as Team leader Jerry might be on the verge of irritating, but as Jerry is a supremely over-confident egotist who loves the fact that he’s starring in the training film, we think he got this pitch-perfect. He’s exactly the kind of dolt who might just say “we don’t take shit from the afterlife” and actually believe it. And Simon Merrells adds some genuine class as the cameraman with a mysterious past. Horror fact-fans will be fascinated to know he was Benico Del Toro’s brother in The Wolfman (2010). Add a bit of well-judged humour, a nice turn from Grahame Fox as the inevitable and rather well done titular ghost and you’ve got an entertaining movie. Result.

Basically Simon Pearce has done a lot with what he’s got here and while Judas Ghost isn’t actually terrifying, it certainly chilling enough to do the job and we wouldn’t hesitate to recommend the DVD or getting it from one of the major streaming providers.

Special Features: Behind the scenes / Deleted scenes

JUDAS GHOST / CERT: 15 / DIRECTOR: SIMON PEARCE / SCREENPLAY: SIMON R. GREEN / STARRING: MARTIN DELANEY, LUCY CUDDEN, SIMON MERRELLS, ALEXANDER PERKINS, GRAHAME FOX / RELEASE DATE: OUT NOW

 

Once again, the brilliant Arrow Films have taken an old favourite and given it a suped-up, cleaned-up, extras-filled Blu-ray release. This time the film in question is Marco Ferreri’s 1973 mildly dark comedy, La Grande Bouffe.

In terms of plot, the film finds four long-standing friends take up residence in a country mansion. The simple aim of the game is to gorge themselves on as much food as possible… well, until they also decide to add some female company into the mix. As such, three whores and a teacher end up at this party of excess and decadence, but maybe all in question have bitten off more than they can chew.

The end result of La Grande Bouffe is seemingly what you’d get if you plonked a couple of Carry On movies, a few Confessions of a… movies and a large dollop of European arthouse in a blender and hit full speed for just over 2 hours. Despite the odd premise and risqué sexual element, there are actually plenty of laugh-out-loud moments dotted throughout La Grande Bouffe’s runtime. Particular humour comes from the sexed-up Marcello, with his smutty tone remiss of a French Sid James (or even our very own Assistant Editor, Martin), although all involved in this feast of overindulgence get their moments to shine in equal measure.

Somewhere buried within the plot of food and sex, Ferreri’s film does have some semblance of irony and, dare we say, meaning. As the sounds-good-on-paper plan of indulgence begins to spiral out of control, there is a clear message of overdoing things, with each person’s particular vices coming back to bite them on the proverbial backside.

The style and shooting of La Grande Bouffe is as lavish and as full of colour as its exquisite dining tables, and the film gushes vibrancy, character and detail at every corner. Holding it all together is our central foursome (all using their real first names for their characters – Marcello Mastroianni, Michel Piccoli, Ugo Tognazzi and Philippe Noiret), as all have their little quirks and differing characterisations that slowly start to unravel throughout the film. Then there’s Andrea Ferreol as the apparent delicate flower of a school teacher who it soon becomes clear is up for arguably even more of a good time than anyone else involved in this plentiful party of profligacy.

As ever with these recent Arrow releases, we’ve got a crisp, enhanced new transfer of the film, which adds even further to its charm. Yes, it might be mad as a box of frogs at times, but La Grande Bouffe is a tasty offering in bizarre-but-brilliant cinema.

Special Features: The Farcical Movie feature on Marco Ferreri / Behind-the-scenes footage with cast and crew interviews / Extracts from Couleurs autour d’un festival with cast and crew interviews / Selected scene commentary / News report from Cannes Film Festival / Visual essay / Trailer / Collector’s booklet

LA GRANDE BOUFFE / CERT: 18 / DIRECTOR: MARCO FERRERI / SCREENPLAY: MARCO FERRERI, RAFAEL AZCONA, FRANCIS BLANCHE / STARRING: MARCELLO MASTROIANNI, MICHEL PICCOLI, UGO TOGNAZZI, PHILIPPE NOIRET, ANDREA FERREOL / RELEASE DATE: OUT NOW