Rocco and His Brothers

  • October 12, 2016 / 19:00

Director: Luchino Visconti
Cast: Alain Delon, Renato Salvatori, Annie Girardot, Claudia Cardinale, Spýros Fokás, Katína Paxinoú
Italy, France, 1960, 192’, black & white;  Italian Turkish subtitles 

Directed by Luchino Visconti in 1960, Rocco and His Brothers is one of the pioneering films of Italian neorealism, depicting the story of a family running away from the poverty of Southern Italy and trying to make a living in industrial Milan. The film narrates the experiences of five brothers – Vincenzo, Simone, Rocco, Ciro, and Luca. Rosari, their mother, believes that her eldest son Vincenzo will help them out of poverty because he had moved to the city earlier. Simone, who is a boxer, and Rocco (Alain Deleon), who will become one, face it out over a woman. The film has a unique place in the history of cinema with its realistic narration and occasionally pessimistic but deep observations on human nature.

Battleship Potemkin

Battleship Potemkin

Le Mépris

Le Mépris

Rocco and His Brothers

Rocco and His Brothers

Hiroshima mon amour

Hiroshima mon amour

L’Atalante

L’Atalante

Hope

Hope

The Conformist

The Conformist

Bride

Bride

Persona

Persona

Metropolis

Metropolis

The Mirror

The Mirror

8 ½

8 ½

Salvatore Giuliano

Salvatore Giuliano

Trailer

Rocco and His Brothers

Cameria (Mihrimah Sultan)

Cameria (Mihrimah Sultan)

Based on similar examples by the European painters in various collections, this work is one of the portraits of Mihrimah Sultan, who was depicted rather often in the 16th century.

Rineke Dijkstra Look At Me!

Rineke Dijkstra Look At Me!

“The portrait tells us that there is an inner and an outer dimension of the human condition; it provides—or should provide—information about both the physical and psychological character of an individual.” 

The Big Country

The Big Country

When the Royal Academy of Arts offered Stephen Chambers the opportunity to produce new work for a focused exhibition in the Weston Rooms of the Main Galleries, Chambers turned to print and the possibilities it offered.