Malatesta (1970 – Peter Lilienthal and Heathcote Williams)
German-language film (with Italian subtitles) directed by Peter Lilienthal (with script by Heathcote Williams). Dramatisation of Malatesta’s London years and the ‘Siege of Sidney Street’. Interesting historical recreation, good insight into his ideas. Malatesta won two German Film Awards in Gold for “Best Direction” and “Best Production”

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  Anna (1975 – Albert Grifi & Massimo Sarchielli)
A film in four parts

Anna – under-age, pregnant, just escaped from the last of a series of reform schools, often flung into a detention room, rescued by Massimo Sarchielli at Piazza Navona, scolded because she has dirtied herself on the pavement where she had been sleeping, washed, dried and her fleas gotten rid of to make her presentable for the theatre, obliged to act out her tragedy for the benefit of the public, becomes the guinea pig for a film director’s experiment which, behind the attempt to put onto the stage a stupid, sanctimonious tale, uncovers a badly hidden sadism, voyeurism and narrow-minded condescension.
But Anna was not going to play the game. Anna was looking for love and not pity. Once the movie camera was thrown away and replaced by the video tape and the script thrown into the rubbish bin, the cast and the operators started to goad and gradually became openly opposed to the film directors’ authority. One day, Vincenzo, the film electrician participated in the discussion and while shooting, declared his love to Anna in the middle of a story about class struggles. An operator who was supposed to stay out of the scenes, not concerned with its meaning, turned the tables against the false roles that the film directors had established, against sanctimonious moralism. Vincenzo brought a breath of his real life problems, he brought LOVE. When you record live via video tape you are able to cut or change scenes to make them more convincing (mistaking  assembly and censure): it does not reproduce your miserable, real, daily trivialities. In this way, Vincenzo whose eyes have already been opened to class struggle and the habit of rejection, realised that the film directors’ behaviour was modelled on pretence, inherited from the cinema. Since he disobeyed, he recovered his real self as a human being, against the logic stopped him from being a man as it cut him down to his role as an electrician. He turned against the film itself, extending this refusal to the rest of the cast. Vincenzo’s microscopic but meaningful gesture opens a path in a revolutionary direction: it creates the basis so that reality itself becomes the place where creation lies and not the film which, at the best of times, monopolises its poetry and separates it from real life.
The reason why this film is so exceptional, why it is so basically different from any standard for film-making (including the ‘cinéma direct’ ones) is first and foremost that the video tape has been used as a motion picture camera. The low budget video costs revealed what traditional picture making intentionally glazed over: while filming time is being calculated, the film directors also calculate, money-wise, how the relationships between the members of the cast are progressing. Burdened by the limits of the budget, film directors, while attempting to impose their authority on the cast, mingle their relationships, one with the other, their personal lives, on the cinema planet, restricted by the means and costs they have budgeted. The script, the basis on which the ways and means are anticipated not as they actually happen but are rather only represented, therefore reproduces the ideology of lucre. The less you live, the more are you suppressed? As much as your desire to live is revolutionary, because it bears the seeds of creation and rejection just like being resigned because of a life of submission almost unlived, it guides the masses towards masochism and enslavement

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The Potentiality of Storming Heaven

The Potentiality of Storming Heaven

A 28 minutes short movie-presentation of the insurrection of December 2008 in Greece through the words and actions of people that took part in it. The video was created in Thessaloniki in January 2009 and its first presentation took place before an open discussion-review of the insurrection in the squatted public library of Ano Poli.
‘It’s of the genre known as “riotporn”, and captures images of the Greek insurrections in late 2008 into 2009, centred in the Athens  neighbourhood of Exarcheia, where Special Guards had murdered Alexander Grigoropoulos, an unarmed 15-year-old student. Greek anarchists and their comrades don’t play. They are seen repeatedly charging police lines, sometimes in makeshift protective gear and armed with stones and sticks and rag-stuffed bottles of gasoline. The cops have more at their disposal, of course. I watched this in Wheeler Auditorium at UC Berkeley, capacity 760, which had been occupied by about 80 dissident students, workers, a couple faculty members. The cops kept coming in to tell us we had to go or we would be arrested. They would glance up at the huge screen and then offer their official “admonition.” Nobody left. Eventually the movie ended—we watched it twice—and we started a dance party and when the cops came in for a last time somebody just turned up the music’
— Joshua Clover

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La Rivoluzione Non è una Cosa Seria

La Rivoluzione Non è una Cosa Seria (2006 –  Marilena Moretti)

E’ la primavera del 1971. Un gruppo di studenti di buona famiglia e di buone letture, insieme a qualche giovane proletario incazzato, lascia Torino per stabilirsi a Ponte a Egola in Toscana, in un casale abbandonato. L’idea è quella di costituire un “nucleo rivoluzionario”, rompere con i vecchi schemi delle organizzazioni politiche e praticare nel vissuto quotidiano la Rivoluzione. Di fatto, quella di Ponte a Egola diventa una comune. Al nucleo originario di Torino, si uniscono ragazzi di Milano, Genova, Firenze, attratti dallo stesso bisogno di radicalità. Li accomuna il desiderio di vivere contro le regole, “senza riserve e senza tempi morti”. Uno dei loro slogan è: “contro il capitale, lotta criminale”. Sul muro del casale, con la vernice rossa, qualcuno scrive “La Rivoluzione non è una cosa seria”… (continua). La comune di Ponte a Egola dura appena un anno, si scioglie nella primavera del ’72, tra dissidi ideologici e per il sopravvento della realtà sull’utopia. Tutti si trovano a dover fare i conti con se stessi e con il mondo. Da allora nessuno è mai più tornato a Ponte a Egola. I rapporti si sono interrotti. Qualcuno è morto. Di altri si sono perse le tracce. L’autrice del documentario era tra loro. In questi trent’anni ha pensato spesso di salire in macchina e andare a vedere che ne è stato di quel casale. E che ne è stato di loro. E un giorno ha deciso di farlo.

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La Bande a Bonnot

La Bande à Bonnot (1969 — Jacques Brel)1911. Quatre anarchistes, Raymond la science, Garnier, Carouy et Soudy attaquent les banques et les bourgeois, influencés par leur rencontre décisive avec Jules BONNOT. Ce dernier devient leur chef et les sépare de Kilbatchine, leur maître à penser, anarchiste non violent. Jouin, sous-chef de la sûreté arrête l’un des partisans qui le mènera jusqu’au dernier membre de la bande, à Nogent-sur-Marne …
Bruno Cremer, Jacques Brel, Jean-Pierre Kalfon, Annie GirardotClick the Films link above