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8.2
/10
936 Ratings

Stromboli

Stromboli terra di Dio

Directed by Roberto Rossellini
Italy, United States, 1950
Drama

Synopsis

The first collaboration between Roberto Rossellini and Ingrid Bergman is a devastating portrait of a woman’s existential crisis, set against the beautiful, forbidding backdrop of a volcanic island. Balancing the director’s trademark neorealism with deeply felt melodrama, Stromboli is a revelation.

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Stromboli Directed by Roberto Rossellini
Even though his movies had incredible scripts and very incredible actors, they were so alive and happening. . . . Stromboli has always been an important film for me because of how it investigates the relationship between man and nature. There is a very tight, traditional structure, but at the same time there are gaps and openings that allow the mystery to come in.
December 03, 2018
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Rossellini was famously committed to rooting his films in documentary authenticity (“Things are there. Why manipulate them?”), and the fact of location shooting gives the images a powerful charge, making us share in Karin’s alienation and anxiety.
September 03, 2017
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The director’s supreme documentary achievement, however, lies in the recording of his irritable inamorata, a thorny snapshot of a Nordic Hollywood goddess awkwardly traipsing through jagged neorealist terrain and, in the process, delivering one of the medium’s great performances. “You can’t go from one extreme to another… All I want now is a little happiness!” A pivotal bedrock formation in cinema and no mistake, Flaherty and Vidor go in and Antonioni comes out.
July 06, 2015
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What are people saying?

  • Duncan Gray's rating of the film Stromboli

    A Rossellini crisis of faith—not just in god, though there's plenty of that, but in whether desperate people, places, and situations should be abandoned or clung to in hope of salvage. Thus a poor, barren volcanic island stands in for post-war Italy, with a 1940s movie queen dropped into rough quasi-doc realism. I'll happily watch Bergman wander infernal landscapes—especially if it signifies, and refuses to settle.

  • tidal waif's rating of the film Stromboli

    a woman's failure is symbolised by a phallic volcano (stromboli), a man's failure is symbolised by a yonic sandpit (woman in the dunes). both trapped, needed, both bigger than their newly acquired lives. no, i am not into wha'd'ya callet, psychoparalysis. it just came to my mind floating from the mediterranean.

  • Loz Loory's rating of the film Stromboli

    So rare to see a movie featuring a woman trying to combat the forces of nature. Bergman is stellar as Karin: she knows how to manipulate people to avoid hardship, but cannot deal with the true animal nature of basic survival. The ending, while a tad melodramatic, is revolutionary for not showing her final decision. Like the volcano, Karin is both a destroyer of land/man and a creator of new land/children.

  • dionysus67's rating of the film Stromboli

    Masterful, albeit flawed at points, diatribe on closed social systems. The implosion of the internment camp gives way to the explosive volcanic island, which beyond carrying denotations of women's sexuality works on a theological level too, pretty much in line with the disclosure of Being. The are brilliant set pieces (e.g. the tuna fishing, Karen's 'contact' with bestiality) and the iconography resonates for ages!

  • Ethan's rating of the film Stromboli

    After completing changing the world of cinema Rossellini continued to reinvent himself as an artist and especially with this film experimented further on the limits that cinema could go through. Ingrid Bergman is phenomenal here as well.

  • T. J. Mesen's rating of the film Stromboli

    Karin's tragedy is not delivered in one powerful punch like Pina's, but her walk up to an earthly hell is perhaps a more powerful representation of our struggle against the world. Karin is not killed directly by her fellow humans, but it's by her relations with them (in her native country, in the camp, and in the island) that she's driven to inflict the tragedy on herself. As beautiful as they come from Rossellini.

  • tiagovitoria's rating of the film Stromboli

    I might be wrong but I found Stromboli one of the most compelling neorealism examples that are quite forgotten. It has a strong sociological point of view that enhances the realism stereotype, however Stromboli also has a curious and overwhelming perspective centered on religion and faith, reminding in a way the final of Bergman's The Virgin Spring. The narrative focus on a woman is great as well.

  • Lynch/Fellini's rating of the film Stromboli

    I enjoyed this film quite a bit. Rossellini made an interesting metaphor about the Holocaust and its survivors. That is, even though they escaped one hell, they entered into another, yet they'll fight so that the next generation will have a good life. Simply beautiful!

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