Jean Rollin (3 November 1938-15 December 2010) Body Snatchers 
Jean Rollin was a character quite unusual in the world of cinema. He worked in horror, exploitation of, eroticism, pornography. He has made films that he wanted to do very strongly, whereas others would have done without turning. He had influenced his artistic talent to the market in a very heavy, thick. Despite this, he also managed to write as often peculiar mark on his films. He has made genre films although probably his character would lead him to directing films rarefied, totally "artistic."
But this is common with other directors. The world is full of people who would like to do something "up" and find themselves doing something "low" and can do it so well that make it indispensable. What makes it unusual - and only - Rollin is his style, his visual ability, his original set of "poetry" and soap opera, and sentiment is blood, violence and philosophy. Few others have challenged the viewer to exploitation as he did. Few have made a product so different from what he expected. Sometimes, for some reason, it is compared to Jesus Franco, but could not be more different directors, emphasized the same as Rollin.
A Rollin I devoted an episode of my series on Kings of Exploitation Segnocinema , so I will not dwell: there I wrote what I think of the Rollin film, sometimes exhausting, but often fascinating. If I can recommend one of his films to anyone wishing to celebrate the memory with a vision board La rose de fer , the sum of the vision rolliniana.
Michele Pastrello 
The young director Michael Pastrello was noted with a handful of horror films openly or peripherally attracting the attention of many critics and gaining major awards at various festivals. To remember at least the psycho-horror In my mind and 32, in which the ecological theme is developed absolutely original.
The originality of the approach also characterizes his new job, Body Snatchers, which draws from the title of a film's most famous fantahorror ( Invasion of the Body Snatchers Don Siegel), which shows a snippet on TV, while the protagonist played by Diego Pagotto good looks. Here there is an alien threat, however, failed to depersonalize the humanity: humanity thinks itself to do so.
Umberto is a loser, resigned to a life on the margins. Lives of odd jobs, has a body care that seems futile given the situation, looks to the past - photos of family members - although it is still young and, finally, is content to cool relations with a prostitute to "comply" with its sexual functions. Then one day, a friend offered him a job in black: fix the sink drain with a guy a "fag", explains his friend as if that term was in itself sufficient to classify the individual. Umberto We prove an instinctive revulsion and refuses the offer. But in reality can not refuse: he needs money. So in the end we should encounter produces unexpected consequences for both protagonists.
While acting in a context that seems to be a horror thriller conventional - for suggestions and atmosphere - Pastrello approaches the subject in a completely unconventional. Painted with a touch dry and effective reasons for violence. View without exaggeration as the loneliness and the squalor of human relationships to generate the inability to relate to others, as if it were part of a process of desensitization of baccellizzazione to stay on the issue of Invasion of the Body Snatchers . And here, in a radical reversal of the film by Siegel, the man's body snatcher is "normal" and there is no invasion, the men - mostly - are already so, the sonbo now. Very effective is also the perception the other - in this case, the homosexual, but it could apply to other categories - as a monster: the nightmare sequence, and masterfully conducted only time classic horror film, is exemplary in this regard.
Positive is the fact that things are not schematic: there is a good study of the psychological motivations of the characters, each of which has a margin of ambiguity which prevents him from being a stereotype. Perhaps missing the final twist, narratively, to no surprise but inexorably on a path partly predictable. However, the collection represents a new and significant step forward in Pastrello, now more than ripe for a feature film.
Excellent photo Mirco Sgarzi, adapted to the different moods of the story. It is also significant to the interpretation of the actors, the fact that independent cinema is not quite usual. In particular, Felice C. Ferrara succeeds in outlining a portrait with great effectiveness sinuous and elusive a character seen as "alien" by the other party.
Bigfoot, also known as Sasquatch or Big Foot (no relation to the character of Bud Spencer) is the American cousin of the yeti, both - like many others - are perhaps imaginary creatures or maybe, who knows actual (or were). For a long time are searched, but no one ever found. Except on the screens, of course.
Lately there has been a revival of Bigfoot on film - is particularly successful Abominable (whose details are obviously in Dictionary horror film - and just one of these, namely on Devil the Mountain Steven R. Monroe, writing in the new installment of Horror Frames, my column in MyMovies, making a brief historical overview of the movie business pelosone. You want to read it? Go here .
Devil on the Mountain Review by Giovanna Branca in the film Bob Dylan 
I am delighted to note the careful review that Giovanna Branca devoted to my book The Cinema of Bob Dylan ( Hands Publisher) site Close-Up dedicated to cinema. Link to this review has .
