Archive of films Last Woman / La dernière femme
France / Italy
1976, 118 min
Section: Seven Close Encounters
Jitka Rudolfová presents
As early as the 1970s Ferreri was already banking on what today’s dramatists have developed even further, when he gave inner conflicts a physical, shocking and critical form. He was obsessed by the mechanisms of power games and saw what they did to couples’ relationships, where the man and woman are never able to form a harmonic union.
“It was only recently that I discovered Ferreri’s film and it really made an impact on me, with its brilliant treatment of the theme – the relationship between a man and a woman, where “true” masculinity finds itself in crisis. Actor Václav Neužil drew my attention to it, saying that he was curious about the shoot itself, since Gérard Depardieu appears naked with an erect penis most of the time. I was initially put off by this, it seemed like an unnecessary “attraction” that I didn’t think I really wanted to see. But I was wide of the mark! The sex scenes and nudity in the film aren’t merely directorial or cinematographic “jerking off.” They are part of a precise and deliberate allegory of a relationship inexorably heading towards its unexpected and gritty finale.” – Jitka Rudolfová. As early as the 1970s Ferreri was already banking on what today’s dramatists have developed even further, when he gave inner conflicts a physical, shocking and critical form. He was obsessed by the mechanisms of power games and saw what they did to couples’ relationships, where the man and woman are never able to form a harmonic union.
About the director
Marco Ferreri (b. 1928, Milan – 1997, Paris), Italian director, screenwriter and actor who etched his name into the annals of world cinema with provocative works that attacked expressions of moral hypocrisy and stereotypes of bourgeois culture. He played a fundamental role in formulating one of the key artistic themes of the latter half of the 20th century, namely the existential crisis of modern man. Ferreri’s films are allegorical in nature, while they draw a taut line between an abstract narrative and a naturalistic, aggressive style that transcends all ideological and social taboos: Queen Bee (1962), The Ape Woman (1963), Dillinger Is Dead (1968), Liza (1972), The Big Feast (1973), Bye Bye Monkey (1977), The Story of Piera (1983), The House of Smiles (1990), The Flesh, 1991). In their symbolism, anarchism and sarcastic tone, Ferreri’s films are reminiscent of Buñuel, earning him several of the highest awards at prestigious festivals.
About the film
Color, 35 mm
|Section:||Seven Close Encounters|
|Screenplay:||Rafael Azcona, Marco Ferreri, Dante Matelli|
|Dir. of Photography:||Luciano Tovoli|
|Art Director:||Michel de Broin|
|Production:||Flaminia Produzioni Cinematografiche|
|Coproduction:||Les Productions Jacques Roitfeld|
|Cast:||Gérard Depardieu, Ornella Muti, Michel Piccoli|
|Sales:||Park Circus Group|