剧情介绍
Tags：莱奥诺拉的告别 骨灰 路易吉 奥诺 地说 1910 愿景 最新热门免费电影电视剧免vip在线观看，就上80s电影网（www.80s-tv.com）！
莱奥诺拉的告别是由保罗·塔维亚尼导演，并由著名影星法比齐奥·费拉卡尼,马泰奥·皮蒂鲁蒂,Dania Marino,多拉·贝克尔,娜塔丽·拉布蒂·戈麦斯,克劳迪奥·比加利,罗贝托·埃利茨卡,Robert Steiner,Luca Ghillino,Simone Ciampi,Biagio Barone,Giuseppe Lo Piccolo,Federico Tocci,Jessica Piccolo Valerani,Giuseppe Spata,Giulio Pampiglione等主演的一部电影，80s电影网为您提供完整版莱奥诺拉的告别免费在线观看,下面为剧情介绍：
Three years after the loss of his brother Vittorio, with whom he shared his entire career, Paolo Taviani returns to the works of Luigi Pirandello, which the pair adapted in 1984 (Chaos) and 1998 (You Laugh). In keeping with the Sicilian playwright’s vision, the film is not at all what it appears to be. The title may come from a 1910 novella, but there is no trace of that book’s jealousy-riddled plot. Instead, the focus is on Pirandello himself, or rather, his ashes, which are transported from a hasty burial site in fascist Rome to a permanent resting place in Sicily, on a trek that takes us through post-war Italy and its filmed memories, as seen in newsreels, amateur films and fragments of Neorealism. Having buried the master, Leonora addio then shifts gear from road movie to film adaptation, but here it picks a different Pirandello story, namely the last one, written shortly before his death in 1936. From the farewell of the title to its return to the writer’s last words, it is hard not to read this work, so free and yet so much a part of the Taviani world, as a moving brotherly farewell which, just as in 2012’s Golden Bear winner Caesar Must Die, once again uses cinema to give voice to literature and history情节跌宕起伏，引人入胜 展开全部
莱奥诺拉的告别是由保罗·塔维亚尼导演，并由著名影星法比齐奥·费拉卡尼,马泰奥·皮蒂鲁蒂,Dania Marino,多拉·贝克尔,娜塔丽·拉布蒂·戈麦斯,克劳迪奥·比加利,罗贝托·埃利茨卡,Robert Steiner,Luca Ghillino,Simone Ciampi,Biagio Barone,Giuseppe Lo Piccolo,Federico Tocci,Jessica Piccolo Valerani,Giuseppe Spata,Giulio Pampiglione等主演的一部电影，80s电影网为您提供完整版莱奥诺拉的告别免费在线观看,下面为剧情介绍：
Three years after the loss of his brother Vittorio, with whom he shared his entire career, Paolo Taviani returns to the works of Luigi Pirandello, which the pair adapted in 1984 (Chaos) and 1998 (You Laugh). In keeping with the Sicilian playwright’s vision, the film is not at all what it appears to be. The title may come from a 1910 novella, but there is no trace of that book’s jealousy-riddled plot. Instead, the focus is on Pirandello himself, or rather, his ashes, which are transported from a hasty burial site in fascist Rome to a permanent resting place in Sicily, on a trek that takes us through post-war Italy and its filmed memories, as seen in newsreels, amateur films and fragments of Neorealism. Having buried the master, Leonora addio then shifts gear from road movie to film adaptation, but here it picks a different Pirandello story, namely the last one, written shortly before his death in 1936. From the farewell of the title to its return to the writer’s last words, it is hard not to read this work, so free and yet so much a part of the Taviani world, as a moving brotherly farewell which, just as in 2012’s Golden Bear winner Caesar Must Die, once again uses cinema to give voice to literature and history情节跌宕起伏，引人入胜 展开全部