Vittorio Boarini


    TO CLOSE THE FILM Weekend, which Jean-Luc Godard made in 1967, the words “The End” which so often appear at this point in a movie are replaced by the words “Fin du cinéma,” “End of cinema.” The film, which clearly predicts the revolutionary explosions of 1968, ends with a description of a conclusion of modern civilization: a massacre is born out of the frantic, ritualistic mass movement of motorists leaving town for the weekend and unleashing all the violence they repress during the week (or, metaphorically during the course of modern times). According to Godard’s epilogue, this conclusion also


    PAOLO AND VITTORIO Taviani’s first feature-length film, Un uomo do bruciare (A man for burning), is, according to the brothers’ own statements and in the judgment of many critics, a declaration of love toward Italian Neorealist cinema at the same time that it is an attempt to reach beyond it. The film was made in 1962, and the Tavianis were prescient in their understanding of the need to respond to the new demands on artistic production that would arise in the ’60s, the decade of the revolutionary movements that would culminate in the revolts of 1968. Yet they remained substantially faithful to