Attilio Bertolucci

"In Search of Marcel Proust" is a 1962 literary documentary directed by the Italian poet Attilio Bertolucci. It serves as a biographical and critical journey into the world of Marcel Proust, blending readings from his masterpiece, In Search of Lost Time, with rare filmed testimonies from those who knew him personally, including his housekeeper Céleste Albaret and friends like Jean Cocteau and François Mauriac.

Donne e soldati was an example of a ‘decentralised’ production, far from Rome, something that for the most part Italian cinema didn’t fully succeed in achieving until the 1990s. . In many ways the film, which is both Picaresque and anti-heroic, was too far ahead of its time, and it is often considered the precursor to Monicelli’s L’armata brancaleone. This time out, Ferreri takes the reins as producer of the ill-fated undertaking (the two directors will never make another film); however, Donne e soldati, apart from marking Ferreri’s estrangement from Italian cinema for a number of years, today appears to display earthy and carnivalesque elements that will subsequently influence certain aspects of the Milanese director’s vision.

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The life and work of Giuseppe Bertolucci, as told by his father and brother, friends and colleagues.

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"In Search of Marcel Proust" is a 1962 literary documentary directed by the Italian poet Attilio Bertolucci. It serves as a biographical and critical journey into the world of Marcel Proust, blending readings from his masterpiece, In Search of Lost Time, with rare filmed testimonies from those who knew him personally, including his housekeeper Céleste Albaret and friends like Jean Cocteau and François Mauriac.

"In Search of Marcel Proust" is a 1962 literary documentary directed by the Italian poet Attilio Bertolucci. It serves as a biographical and critical journey into the world of Marcel Proust, blending readings from his masterpiece, In Search of Lost Time, with rare filmed testimonies from those who knew him personally, including his housekeeper Céleste Albaret and friends like Jean Cocteau and François Mauriac.

Donne e soldati was an example of a ‘decentralised’ production, far from Rome, something that for the most part Italian cinema didn’t fully succeed in achieving until the 1990s. . In many ways the film, which is both Picaresque and anti-heroic, was too far ahead of its time, and it is often considered the precursor to Monicelli’s L’armata brancaleone. This time out, Ferreri takes the reins as producer of the ill-fated undertaking (the two directors will never make another film); however, Donne e soldati, apart from marking Ferreri’s estrangement from Italian cinema for a number of years, today appears to display earthy and carnivalesque elements that will subsequently influence certain aspects of the Milanese director’s vision.