Category:Italian coming-of-age films
Pages in category "Italian coming-of-age films"
The following 44 pages are in this category, out of 44 total, this list may not reflect recent changes (learn more).
The following 44 pages are in this category, out of 44 total, this list may not reflect recent changes (learn more).
1. Crazy Desire – Crazy Desire is a 1962 Italian comedy film directed by Luciano Salce. It launched the career of Catherine Spaak. The film was banned by the Italian censors and then cut in some parts before being released with a ban for persons under 14 years. Antonio Berlinghieri is a 39-year-old engineer travelling on a highway one summer in his sports car when he sees a car with a group of teenagers. He stops to try to help them but soon discovers that the men have a frivolous attitude. At first he thinks of leaving to continue his trip but then notices the beauty of Francesca and he decides to remain with the group even if the different ages causes some troubles
2. Ernesto (film) – Ernesto is a 1979 film directed by Salvatore Samperi and starring Martin Halm and Virna Lisi. Ernesto, a 17-year-old Jew of the 1911-Italy, lives with his mother, under the tutorship of his uncle in Trieste, Ernesto works at some office, and there he meets a stableboy who infatuates him so both. So they end up in an sexual relationship. This ends as, by chance, Ernesto has a sexual intercourse with a prostitute, Ernesto renounces then, to take lessons of violin instead. There, he meets the 15-year-old Emilio, by whom Ernesto gets acquainted with his twin sister Rachel, Ernesto at the Internet Movie Database Ernesto at AllMovie
3. Exploits of a Young Don Juan – Exploits of a Young Don Juan is a 1986 French-Italian erotic coming of age film written and directed by Gianfranco Mingozzi. It is loosely based on the novel Les Exploits dun jeune Don Juan by Guillaume Apollinaire, roger is a 16-year-old who seeks to lose his virginity in this softcore erotic drama. His initial efforts are unsuccessful, but World War I breaks out, roger goes overboard when he is presented with several amorous opportunities. He soon impregnates the maid, his aunt, and his sister in quick succession, roger desperately tries to marry off the women to other men to avoid a lurid scandal
4. Il Futuro – Il Futuro is a 2013 drama film directed by Alicia Scherson. Based on Roberto Bolaños novel Una novelita lumpen, the film stars Manuela Martelli, the film was shot in Italy, Chile, and Germany, and is an Italian-Chilean-German-Spanish production. Narrated from the future, Bianca tells how she and her brother, being the children of Chilean immigrants, they have no family in Italy where the accident occurred. A bureaucratic problem prevents them from accessing their mothers pension, so they only receive funds from their fathers account. Bianca, old enough to become her brothers guardian, becomes an apprentice at a hair salon, two local personal trainers from the gym befriend Tomas and teach him how access subscription pornographic content for free. After Tomas invites them to the house, Bianca allows them to stay overnight and they ingratiate themselves into the household by cleaning and cooking, and they eventually begin to have sex with Bianca. Eventually, they approach her with a plan, seduce and rob a retired actor, nicknamed Maciste after his most popular character, he has become reclusive and only sees prostitutes. The personal trainers believe Bianca perfect for the part, as she is young, pretty, Bianca soon learns that Maciste is blind. Although she does not back out, she and Tomas become annoyed that the personal trainers did not explain this fact, Bianca and Maciste meet several more times, and they engage in many conversations. Although the personal trainers warn her to avoid asking Maciste about how he lost his vision and they become concerned that she has come to develop feelings for Maciste and urge her to move forward with the plan. Maciste reveals to Bianca that he lost his vision in a car accident and they grow closer emotionally, and Bianca becomes more confident and assertive. Bianca admits to Maciste that she has fallen in love with him, upset that her feelings are unrequited, she leaves in tears. After a competition at the gym goes poorly, the personal trainers again urge Bianca to steal Macistes money, on her next visit, Maciste is sick and does not want to have sex with her. Instead, she cares for him, and, when he falls asleep, Bianca looks in a locked room but finds no evidence of a hidden fortune. As she leaves the mansion, Maciste calls for her to stay, Maciste leaves his mansion and wanders into the street after her, but she continues on her way. When she arrives at her apartment, she demands that the personal trainers leave, although she fears for the worst, she says that she does not find any news reports about Maciste in the papers. It opened in Chile on 6 June 2013, Rotten Tomatoes, a review aggregator, reports that 87% of fifteen surveyed critics gave the film a positive review, the average rating was 7/10. Metacritic rated it 80/100 based on nine reviews, alissa Simon of Variety wrote, Even though mood trumps character psychology, the entire cast provides mesmerizing, evocative performances
5. I'm Not Scared – Im Not Scared is a 2003 Italian crime mystery thriller film directed by Gabriele Salvatores. Francesa Marciano and Niccolò Ammaniti wrote the script, basing it on Niccolò Ammanitis successful 2001 Italian novel with the same name. The action of the takes place in 1978, in a fictional town called Acqua Traverse in Southern Italy, during the hottest summer of the century. A nine-year-old boy named Michele Amitrano and a group of his friends set out on a race across scorched wheat fields to a deserted farmhouse, Micheles sister tags along but falls over, breaking her glasses, and she calls out to Michele, who runs back to her. Michele quickly calms her worries about the glasses, and they continue running and they are the last of the group to arrive at the farmhouse, which means that she and Michele must pay a forfeit. However, the leader of the group, Skull, chooses the only girl in the group apart from Micheles sister to pay up instead. He instructs her to herself to the boys, and she looks to the others for help. She reluctantly and hesitantly begins to take off her clothes, when Michele pipes up that he was the one to arrive last and he should be the one to pay. As his punishment Michele walks the length of a beam, high up in a rickety old barn-like building at the deserted farmhouse, as Michele and his sister set off, she asks him where her glasses are, and he goes back to fetch them. While searching for the glasses at the farmhouse, Michele discovers a hole in the ground covered with a sheet of metal. He opens it and sees part of a human leg, horrified, due to the limited time he had to investigate the situation. He feels threatened by Skull and doesnt want such a big discovery to be away from him. The next day, he returns to the place, throwing rocks at the leg, as he moves to pick up another rock, the camera pans to him, on the ground, searching around him in the dirt, where Michele finds another rock to throw. As the camera pans back into the hole, the leg is out of sight, startled, Michele is suddenly staring down at a zombie-like young boy stumbling out of the darkness and into view. Terrified, Michele hurries home once more, but then his bicycle chain breaks, as he returns home he is scolded for being late. The next day while playing with friends Michele thinks about the boy, Michele finds that the boy is actually alive, although he is very weak. He brings him water and later food, one day, Michele goes to buy bread, to feed the boy. On the way he sees the face of Skulls older brother driving away from the house
6. The Invisible Boy (2014 film) – The Invisible Boy is a 2014 Italian fantasy-superhero film directed by Gabriele Salvatores. Michele Silenzi is a shy thirteen year old kid who lives with his single mum and he is often overlooked at school and is picked on regularly by the school bullies. He wants to attend a fancy dress party as the object of his desires, unfortunately the fifty Euro note he was to use to buy a superhero costume was stolen by the bullies. He instead has to settle for much cheaper costume that he is told belongs to an obscure Chinese superhero who has mystical powers, the bullies embarrass him at the party by showing Stella that he has been secretly filming her on his phone. Mortified, Michele makes his escape in to the night but not before wishing the costume would make him invisible and he later discovers his wish has come true. At first he uses his power to get his own back on the bullies and it becomes apparent that children at the school are going missing and eventually Stella is kidnapped also. Eventually a mysterious blind man tells Michele that he is his father, all members of this group have superpowers and that the reason that the children are going missing is an attempt by The Specials to track Michele down. By now Michele can control his invisibility and after escaping the leader of The Specials he helps free the children before his father wipes everyones memory, the film ends with the revelation that leader of The Specials is actually Micheles real mother. The final scene shows her being informed that although they have failed to recruit Michele, they have located his sister in Morocco
7. Maladolescenza – Maladolescenza is a 1977 film directed by Pier Giuseppe Murgia. The film caused significant controversy because of its sex scenes involving underage actresses. Laura and Fabrizio have been meeting every summer in the forest by her parents summer home, Fabrizio is a solitary boy with only his dog for company, Laura a sweet, but unconfident child. This summer new aspects enter into their story as both are growing up, the film represents them as part child, part adult. Laura is falling in love with Fabrizio, while he displays a new awareness of her masked by his malice. He accelerates his unwarranted torment of Laura in many ways, including tying her up and putting a snake near her, Fabrizio prides himself on being king of the forest and rubbishes Lauras tender attempts to be his queen. One day they climb the Blue Mountain, a tall mountain at the forests edge. Exploring these they find a cave, fabrizios cruel streak is boosted by his new sexual confidence. At one point he forces himself on Laura, much to her upset. He does relent when she makes it clear she wants Fabrizio to be gentle with her, things develop further when they meet Sylvia. Unlike the previously virginal Laura, Sylvia is confident and assertive, Fabrizio develops a fascination with her, eventually bribing Laura to fetch her to the forest to join them in play. Sylvia, aware of Fabrizio’s interest in her, asserts herself in his affections, quickly replacing Laura and demoting her to servant and victim, Laura, reluctant to leave her old friend and new lover, stays and becomes the target of the duos ever progressing cruelty. At one point, they both hunt Laura with bows and arrows and at another, pretend to throw her off a high ledge and they make love in front of her, insisting her punishment is that she must watch, leaving Laura confused and heartbroken. At the end of summer, with the girls talking about returning to school, Fabrizio becomes pensive and he insists on taking Sylvia to the ruins for the first time. All three of them go into the cave to escape a thunderstorm and Fabrizio again pretends they are lost as he did with Laura, Sylvia breaks down sobbing for her mother, all traces of her confidence and maturity lost in the fear of being in the cave. Fabrizio repeatedly begs Sylvia to stay with him forever, in the morning, Sylvia is still lost in the cave and further rejects the desperate Fabrizio and his pleas to stay with him. She becomes hysterical and he kills her with a knife, feeling it is the way he wont lose her. He stays with the body and gives Laura the flashlight telling her she knows the way home
8. Malicious (1973 film) – The original title Malizia is Italian for malice. It was entered into the 23rd Berlin International Film Festival, for their performances Laura Antonelli and Turi Ferro won the Silver Ribbons for best actress and best supporting actor. The film is about the desire of a widower and his three sons for their new housekeeper. The film challenged sexual taboos by presenting and mixing such themes as a teenage male sexually harassing an adult woman, following the death of his wife, a father of three sons hires an attractive young housekeeper named Angela, and soon becomes engaged to her. His sons are also infatuated with Angela, and each of them uses their particular way to approach and capture the apparently innocent and naive young woman, but only one of them succeeds in dominating and conquering her, the middle son, the teenager Nino. He blackmails her into eventually tolerating his increasingly aggressive physical sexual harassment
9. La minorenne – La minorenne is a 1974 Italian commedia sexy allitaliana directed by Silvio Amadio. The author Adriano Tentori referred to the film as a piece of 1970s fashion history, a young woman walking along a country road is menaced, then attacked by circling motorcyclists. A well-groomed man in a trench coat watches, later, she is in the care of some nuns at what appears to be a girls school, where we find out her name is Valeria. She receives a medical examination, during which her vision blurs and she likes the young doctor, and they kiss. While they are kissing, the other schoolgirls burst into the room and they subdue the doctor, much to her amusement, and tear his clothes off. They do something apparently very painful to him using a pair of forceps, the same well-groomed, trenchcoated gentleman reappears. It may have all been a daydream, later, the girls give a young nun a hard time by being unruly in the woods. The young nun chases Valeria, who takes pity on her when she collapses under a tree to catch her breath and they sit together and talk, but are reprimanded by an older nun, who seems to have rounded up the other girls. She is rescued by the nun, who seizes the whip and chases away the others. The daydream is apparently interrupted when the trenchcoated man inevitably reappears, after a graduation ceremony, she travels to the villa of her well-to-do father. At the end, she is reconciled with the pleasures of nature
10. Piccoli fuochi – Piccoli fuochi is a 1985 Italian drama film directed by Peter Del Monte and starring Dino Jaksic and Valeria Golino in her very first leading role. Golino won a Globo doro for Best Breakthrough Actress for her performance in the film, the Italian childhood fantasy Little Flames concerns 5-year-old Dino Jakosic. Proving too much for his parents, Jakosic is often sent to his room, Valeria Golino plays Mara, the familys new maid, whom Jakosic takes a liking to. He begs his playmates to leave Mara alone, but out of jealousy they plan an awful revenge on the poor woman
11. Shoeshine (film) – Shoeshine is a 1946 Italian film directed by Vittorio De Sica. Sometimes regarded as his first major work, the film follows two boys who get into trouble with the police after trying to find the money to buy a horse. Two friends, Giuseppe Filippucci and Pasquale Maggi, test-ride horses and it is their dream to own one for themselves. Though they are saving to purchase a horse, it is difficult for them to afford one, one day Giuseppes older brother, Attilio, visits the two boys while they are shining shoes. Attilio tells Pasquale that Panza has some work for them, Pasquale brings Giuseppe along to meet Panza, who gives them two fine American blankets to sell. Giuseppe and Pasquale bring the blankets to a teller, who buys them from the boys after some negotiation. After the sale, Panza, Attilio, and another man bust into the fortune tellers house and they accuse the fortune teller of handling stolen goods, and finding Giuseppe and Pasquale, force them out and pretend to take them into custody. Attilio tells the boys to go away and keep quiet, letting them keep the money as well as 3,000 additional lira. With this money, the boys realize they have enough to buy a horse. After purchasing their horse and spending a great deal of time riding it, there the real police, accompanied by the fortune teller, bring them into the precinct for questioning. The police accuse the boys of stealing over 700,000 lira from the fortune tellers home, the boys deny all charges and do not mention their knowledge of the three true con men. Giuseppe and Pasquale are sent to a detention center. On arrival, Giuseppe and Pasquale are separated, the detention center is divided into three levels/rows of cells with 5 boys in each. Giuseppe is placed in a cell on the floor. The two boys try to remain in contact, but are frequently stifled by the prison guards and they each make new acquaintances in their respective cells. Giuseppe receives a package from his mother filled with food and he tries to share it with Pasquale, still in his cell on the first floor, but he is stopped. Giuseppe instead shares it with his inmates in his own cell. As the meal begins, Arcangeli, one of Giuseppes fellow inmates returning from solitary confinement and it is from Attilios boss, and it instructs him not to expose his brother and comrades regarding the con
12. I Vitelloni – I Vitelloni is a 1953 Italian comedy-drama directed by Federico Fellini from a screenplay by Fellini, Ennio Flaiano and Tullio Pinelli. Recognized as a work in the directors artistic evolution, the film has distinct autobiographical elements that mirror important societal changes in 1950s Italy. As summer draws to a close, a violent downpour interrupts a beach-side beauty pageant in a town on the Adriatic coast. Sandra Rubini, elected Miss Siren of 1953, suddenly grows upset and faints, under pressure from Francesco, his respectable father, Fausto agrees to a shotgun wedding. After the sparsely attended middle-class ceremony, the newlyweds leave town on their honeymoon, unemployed and living off their parents, Faustos twenty-something friends kill time shuffling from empty cafés to seedy pool halls to aimless walks across desolate windswept beaches. During the interim, they perform immature pranks, taunting honest road workers from the safety of a luxury car they never earned, theyre given a sound thrashing when it runs out of gas. Moraldo Rubini, Sandras brother and the youngest of the five vitelloni, uncomfortably observes Faustos womanizing as he ponders his own existence, Riccardo, the baritone, nourishes unrealistic ambitions to sing and act. Alberto, the daydreamer, is supported by his mother and self-reliant sister, vulnerable and effeminate, hes unhappy that Olga is secretly dating a married man. Leopoldo, the aspiring dramatist, writes a play that he discusses with Sergio Natali, back from his honeymoon and settled in with Sandra, Fausto is forced to accept a job as a stockroom assistant in a religious-articles shop owned by Michele Curti, a friend of his father-in-laws. Incorrigible, he pursues other women even in his wifes presence, at the annual masquerade ball, Fausto is bedazzled by the mature beauty of Giulia Curti, his employer’s wife. Alberto, in drag and half-drunk, executes a surrealistic dance across the floor with a goofy carnival head made of papier-mâché. Returning home at dawn, Alberto is devastated to find his running off for good with her married lover. Fausto’s naive attempt to seduce Giulia results in his being humiliated, in revenge, he steals the statue of an angel in gold paint from his former employer, enlisting the loyal Moraldo to help him sell it to a monk. Suspicious, the monk turns down the offer, Fausto ends up giving the statue to a simple-minded peasant who sets the angel on a mound outside his hovel, admiring it from afar. Learning of Fausto’s one-night stand with an actress, Sandra runs away from home, Riccardo, Alberto, Leopoldo, and Moraldo all join in Fausto’s desperate search to retrieve his wife and child. When they find her at the home of Fausto’s father, Francesco pulls off his belt in a rage, later Fausto and Sandra walk home happily, with optimism about their life together. Resolved to abandon the provincial monotony of his town, Moraldo boards the train for anyplace else. Rovere had solid reasons for turning it down, apart from the script of La Strada being a genre, Fellini’s last film