Valeria Zurlini
BAM Cinematek recently chose to feature the films of Italian Director Valerio Zurlini. Zurlini isn't mentioned in many of the putative histories of Italian cinema, yet he is one of the most noteworthy Italian directors of all time. Zurlini's canon of films were most recently screened at The National Gallery of Art, in February of 2001, and have also been screened throughout Canada, and at The Pacific Cinematheque, Lincoln Plaza Cinemas, and Walter Reade Theater within the last two years. Valerio Zurlini was born in Bologna in 1926 to an affluent family. Prior to directing films, Zurlini studied both law and art history. Zurlini said that studying art helped him to develop an intuitive approach to the composition of images, and that going to the movies on a regular basis instilled in him an understanding of cinematic rhythm, presumably reinforced and deepened by his long-standing collaboration with composer Mario Nascimbene (Moller). Zurlini believed that art alone could provide insight into human nature, inspiration, truth and the possibility of redemption, since art endures long after its creator is gone. In relation to Italian film history, Zurlini's films fall in between Rossellini, de Sica, and Zavattini's Neorealism and
As Bob is on his way back home alone, he sees a beautiful young women, Bice, get into a fender bender with another car. easily could have been the inspiration for countless tacky American films and television sitcoms, but because Valerio Zurlini is somewhat of an unknown outside of Europe, it is probably best to assume that they all had the same idea, but Zurlini pulled it off best. Zurlini's eight features were made between 1954 and 1976, while his shorts were all made in the 1950's. "More Than Just a Movie House; A magnet for Brooklyn's Young Is in Place, but Will It Work?" New York Times 12 Nov 1998: 2 . four of his feature length films, and one of his shorts would deal with military themes, drawing on his own experiences with the Italian Liberation Corps. I thoroughly enjoyed the opportunity to screen The Girls of San Frediano in a theater. Bob leaves Bice his phone number, and tells her he'll be a witness for her defense.
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Acceptance Essays
