Thre□ years afte□ □he loss of his brot□e□ □ittorio, wi□h□w□om he sh□re□ his en□ir□ c□ree□,□Paolo Taviani returns to t□e works of Luigi □□randello, whi□h the pai□ adapted □n 1□84□(Chaos) and 1998 (Y□u La□g□)□ In□k□eping with th□ S□cil□□n playwright’(□)s □is□on, the fi□m i□ no□ at all □□at it□appears to be□□The ti□l□ m□y co□e□from a 1910 □ovella, but there is no t□ace of that boo□’(📨)s jealou□y-ri□dled plot.□I□□tead, the focus □s on □i□andello himsel□, □r rath□r, □is a□h□□, w□□ch □re tr□ns□ort□d from □ ha□ty□burial site in□fasci□t □om□ to a □erma□ent res□ing pla□□ □□ Sicily, on a trek tha□ takes us throug□ post-war It□ly □□d its filmed□mem□rie□, a□ see□ in ne□sreels,□amate□r films and f□□gme□ts of Neore□lism. Ha□ing b□□ied the□m□ster, Leonor□ addio then s□ifts gear □r□m road □ovie□to film a□aptation, bu□ □e□e it picks a di□f□r□nt Pi□an□ello st□r□, namely the l□s□□one, wr□tt□n short□y b□f□re his death in 1936. From the □□r□wel□ of□t□e title to its r□□u□n to the □riter’s l□st□words, it is hard□□o□ to r□a□ thi□ wo□k, s□ free and y□t□so much□a part of□the □avia□i worl□,□□s a moving br□t□erly fa□ewel□□which, jus□ a□ in 2012’s□□ol□en□Bear □inner Ca□sar Must□Die,□once a□ain uses □in□□□□t□ give v□i□e□to l□teratur□ an□ □istory.□让倍感高傲(🌾)的事情,实在(😹)是让自己狠狠的出尽风头□□琴(🧙)慢慢地走过去,很不情□地□起听筒,准备苛责对方有完没完,就听到里面传来一声询问:那原来是一个□杆。□在乱动,亚瑟□□保持平衡顺势扭了□下。龙□部的装甲板马上往□打开!所有□他母亲伤心过的人,他一个都不会原谅□