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“A densely allegorical and furiously feminist work _ Three sex workers live in a shack in a blighted settlement on the coast of Sicily – to call it a village dignifies it, as this is a refuse dump with a few huts cowering at its fringes. They see the very worst of a world that has all but forsaken them. But they have a maternal love for orphaned, intellectually disabled Arturo (Simone Zambelli). Misericordia is a densely allegorical and furiously feminist work. It’s an unflinching, uncomfortable watch, a film that, with its hard-edged compassion and affinity with society’s discarded and rejected souls, has a kinship with the work of Pasolini” – SCREENDAILY
“A densely allegorical and furiously feminist work _ Three sex workers live in a shack in a blighted settlement on the coast of Sicily – to call it a village dignifies it, as this is a refuse dump with a few huts cowering at its fringes. They see the very worst of a world that has all but forsaken them. But they have a maternal love for orphaned, intellectually disabled Arturo (Simone Zambelli). Misericordia is a densely allegorical and furiously feminist work. It’s an unflinching, uncomfortable watch, a film that, with its hard-edged compassion and affinity with society’s discarded and rejected souls, has a kinship with the work of Pasolini” – SCREENDAILY
“Director Tommaso Santambrogio’s beautifully realized first feature, Oceans Are the Real Continents (wich opened Venice Days), presents a number of intriguing paradoxes: It’s both grounded in realism and highly stylized, like a social documentary shot by a first-class photographer. It’s a stark portrait of Cubans deeply impacted by exile, but one that was made by a foreigner (Santambrogio is Italian). And it’s a film about the quiet desperation of a place many people are struggling to leave — although it makes Cuba look much more like a country you want to visit rather than escape from” – The Hollywood Reporter
“Director Tommaso Santambrogio’s beautifully realized first feature, Oceans Are the Real Continents (wich opened Venice Days), presents a number of intriguing paradoxes: It’s both grounded in realism and highly stylized, like a social documentary shot by a first-class photographer. It’s a stark portrait of Cubans deeply impacted by exile, but one that was made by a foreigner (Santambrogio is Italian). And it’s a film about the quiet desperation of a place many people are struggling to leave — although it makes Cuba look much more like a country you want to visit rather than escape from” – The Hollywood Reporter
“We are immersed in a world that changes so fast that it escapes us. Sometimes even the very meaning of our existences escapes us. This has always been the case and even more so today. Fortunately for us, there are people who, staying true to themselves, act as our compass, helping us not to get too lost. Orlando is dedicated to these people” – Daniele Vicari
“Orlando, Vicari’s modern fable is a mature and universal work. Starring a stunning Michele Placido” – Il Fatto Quotidiano
“We are immersed in a world that changes so fast that it escapes us. Sometimes even the very meaning of our existences escapes us. This has always been the case and even more so today. Fortunately for us, there are people who, staying true to themselves, act as our compass, helping us not to get too lost. Orlando is dedicated to these people” – Daniele Vicari
“Orlando, Vicari’s modern fable is a mature and universal work. Starring a stunning Michele Placido” – Il Fatto Quotidiano
