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La Sapienza
La Sapienza
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La Sapienza

La Sapienza

2014
Drama
1h 41m
Faced with problems on a housing project, Alexandre feels the need to return to his long-standing research for a book on Borromini, a 17th-century architect that he has admired and tried to emulate all his life. And so Aliénor accompanies Alexandre on his research trip to Borromini's birthplace in Ticino, Switzerland with a the plan for them to continue to Turin, then Rome, following in the architect's steps. But a chance encounter with an adolescent brother and sister changes their plans. (filmdivider)

La Sapienza

2014
Drama
1h 41m
Your probable score
Avg Percentile 66.31% from 69 total ratings

Ratings & Reviews

(69)
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Rated 19 Feb 2024
70
63rd
Damn did Green drop the ball hard in two or three places (the scene with the Australian was extremely unfortunate). I think that it could have been a simple matter of cutting the bits where he departs from the established tone, because these are worse than superfluous, they're damaging, and when Green is just doing his thing it works out great.
Rated 29 Feb 2016
70
35th
Very artsy.The development of the protagonists in the film is mechanical The dialogue is stiff and robotic. There were some beautiful architectural examples of buildings designed for a higher purpose the protagonist comes to see by the end of the film. Lights out boring.
Rated 08 Jan 2016
63
58th
Erotica for a spiritual formalist. Only, well, real erotica would enliven it.
Rated 23 Nov 2015
43
31st
I don't think Eugène Green's text is particularly insightful. There's a cheesy finale to the main character's arc. But it's very hard to judge because the formal aspect of the film is so distracting. It looks like Green desperately wants to have a stylistic calling-card, say, like late Bresson or Kaurismaki, and this mainly consists in back-and-forth cuts of fully frontal medium closeups during almost every conversation, which just comes off as manneristic and awkward.
Rated 23 Sep 2015
94
94th
For anyone already familiar with Green's work, you know the drill. This is probably his most straight-forward and accessible film over all, less ascetic than The Portuguese Nun, but less intellectually dense (if less funny) than his first few films. If his style loses something from shooting digital, the Italian baroque architecture on display is still incredible. Of course, it helps to share at least some of his romantically anti-modern worldview, because he's as blunt about it here as ever.

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