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Synopsis

The film has three stories: the first is about the local village idiot Paletta, who cannot afford the services of a whore and so steals a locket from a holy shrine belonging to the local mafia don; the second shows the story of betrayal of Pitrinu (who’s dead now) by his lover Fefe; the final episode is about lowlife Lazarus, who is killed by mob boss Toto, but raised from the dead by a local messiah, who is also known as Toto (and is played by same actor). —IMDb

Director

Original

Daniele Ciprì

Daniele Ciprì (Palermo, 1962) is an italian director, cinematographer and screenwriter, and was part of the duo Ciprì and Maresco. Along with is collegue Franco Maresco, he created and directed the cult TV series “Cinico TV”, aired on RAI3, as well as other programs like “I Migliori Nani della Nostra Vita” and “Ai Confini della Pietà”.
They’ve also directed three full lenght movies, which soon reached a cult status due to their iconoclastic nature: their second movie, “Totò che visse due volte” has been accused of blasphemy and it’s banned from italian television. Recently the duo split up, and both of the directors work with their own projects. He has cured the cinematography for the movies “La Pecora Nera” and “Vincere” and he’s now working as a director on a new project with Toni Servillo as the main actor. 

Original

Franco Maresco

Franco Maresco (Palermo, 1958) is an italian director, cinematographer and screenwriter, and was part of the duo Ciprì and Maresco. Along with is collegue Daniele Ciprì, he created and directed the cult TV series “Cinico TV”, aired on RAI3, as well as other programs like “I Migliori Nani della Nostra Vita” and “Ai Confini della Pietà”. They’ve also directed three full lenght movies, which soon reached a cult status due to their iconoclastic nature: their second movie, “Totò che visse due volte” has been accused of blasphemy and it’s banned from italian television. Recently the duo split up, and both of the directors work with their own projects. 

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Scott Barley

14Dec12

Reminiscent of Tarr in style, and Pasolini in content, but not as remarkable as either. A brave film, nonetheless.

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