TWO WOMEN (’60): I’ve been slowly seeing more of Sophia Loren’s work from her starmaking years, and my admiration for her talents is growing along with it. Such a commanding screen presence. And in this one she’s given the material to make the most of the moment. She’s an Italian widow trying to save her daughter in the waning days of WWII. Belmondo is great as the bitter intellectual. And the third act defines “devastating”. Haunting and moving. Unforgettable final scene too. #italianfilms

STROMBOLI (’50) has an extremely mixed reputation, then and now. Feels like people have strong views on it, and not always for the best. Put me deeply in the “pro” column. Thought this was something truly special and memorable. I guess I can see why US audiences reacted so viscerally, the glamorous Ingrid in such settings and not that likeable. But that for me was a big piece of its power- and I did sympathize with her. A very compelling watch with a fascinating finale. #italianfilms #neorealism

CALIBER 9 (’72), aka My First Poliziottesco (Italian crime film). Films rarely open with a bigger hook than this one. A gang, led by of all people Lionel Stander (That funny guy from Capra films? Yup), is obsessed with proving one of their own double crossed them for $300K. This is quite the menagerie of craziness. Slapping naked women around? Bombs in train stations? A brazenly unethical right wing police chief ranting about left wing government policy? Check, check, and check. #italianfilms