Umberto Castagna

In relation to some of Pasolini's visits to Palermo for this last film, in 2000 Ciprì and Maresco shot Arruso, which begins with a phrase by Pasolini ("I banished the word hope from my vocabulary") and consists of imaginary interviews with some local characters who are presumed to have had homosexual relationships with the director. The two record the testimonies, sometimes affectionate others less, of those who had the opportunity to meet him and know the trends on the occasion of that trip.

Ciprì and Maresco's delicious documentary portrays Sicilian super-agent Enzo Castagna, a man with some 20,000 extras on his books, who has worked with the likes of Loren, Pasolini, Rosi, Coppola and Cimino (indeed, virtually anyone who's ever chosen to film in Palermo). It's typically weird, witty and wonderful, partly due to its subject, a self-styled 'little big man' who consents to be described as 'almighty' and 'the greatest contributor to Italian cinema in the last 35 years'. The local favourite has also done time for bribery, but refuses to comment on Cosa Nostra. The film is as astonishing as its subject. Shot in luscious b/w, it's driven forward by an offscreen interrogator who alternates between ludicrously hyperbolic flattery and forthright questions about corruption and crime. It also serves as a study of the way ethics get abandoned in the unending pursuit of fame, wealth and self-esteem.