In his collaboration with South Korean director Bong Joon-ho, Jung Jae-il has become the composer who best captures the critical issues of our contemporary society. Following his soundtracks for Okja, Parasite, and Squid Game, his work on Mickey 17, starring Robert Pattinson and now in cinema, further cements this status.
We interviewed the composer behind The Brutalist soundtrack, whose artistic courage and radical vision is rooted in an East London cafè, and football too.
The Italian composer was a pioneer of electronic music, in a cultural season in which Italy and its synthesisers reached global appraisal and were loved by international rock stars.
The French actress and musician joined Philippe Sarde in studio to bring to life, fifty and counting years after its composition, a song written for Romy Schneider but never recorded.
The director, artist and musician explores his relationship with horror cinema and its music, from Mario Bava to Ennio Morricone.
From the villas of Gio Ponti and Nanda Vigo to Dario Argento’s beloved Art Deco and Liberty. The invention of the Italian way to horror cinema unfolds through design and architecture.
Composer Fabio Massimo Capogrosso on reinterpreting the musical heritage of Fiorenzo Carpi’s Pinocchio for Francesca Comencini’s ‘Il tempo che ci vuole’ and collaborating with Marco Bellocchio.
From cult architectures to Pop Art, the films starring Marcello Mastroianni offer a way to read the evolution of Italian design and taste in the golden years of Cinecittà.
From hats to suits and, needless to say, through frames (both prescription and sunglasses), the actor has been the demiurge of a unique style that, 100 years from his birth, continues to establish him as an unmatched style icon, from Rome to the world.
Since the 1950s, the beach and the road have forged the archetype of an all-Italian way to comment on the myth of the holidays. Equally frantic and alienating, from Il sorpasso and Swept Away to Cario diario and Call Me By Your Name, soundtracks have been crucial in portraying these scenarios.
On the occasion of the 50th anniversary of the film (and the soundtrack by Piero Piccioni), we have collected five curiosities about Lina Wertmüller’s masterpiece. There are works that are often hastily defined as timeless, timeless masterpieces. And yet, films such as Travolti da un insolito destino nell’azzurro mare d’agosto (aka Swept Away) (1974) by […]
Swept away on a boat off the Sicilian coastline, we recount through words and images the Ortigia’s instalment of gggglllloooossssaaaa, an itinerant interdisciplinary venture, which jointly with CAM Sugar has celebrated the island’s soundscape.
The actress, mistress and muse of Federico Fellini, was the inspiration behind one of the film’s most iconic characters. Yet she turned the part down at the last minute. We trace this story through archive ephemera and memories.
In the years of La Dolce Vita, an elective affinity blossomed between italian cinema and tropical rhythms which, sixty years on, continue to soundtrack the Italian summer. A new collection unveils this untold story.
The soundtrack composer of Yorgos Lanthimos’ Poor Things and Kinds of Kindness is subverting the status quo of contemporary film music. Is a new wave of composer-director creative partnerships possible?
The actor, director and musician opens the doors to his Milanese home to CAM Sugar to offer a glimpse into his kaleidoscopic world and artworks.
To mark the release of the new CAM Sugar playlist dedicated to cinema and motors we spent a day with Biscioni, the Alfa Romeo-driving dandies of Torino to discuss cinema, life and classic cars, and understand who are the gentlemen drivers of 2024.
Casa Malaparte, the villa that belonged to writer, socialite and director Curzio Malaparte and that appeared in the film by Jean-Luc Godard has been chosen by Jacquemus for its 15th anniversary show.
Beautiful and damned, ruthless and whimsical, witches have long exerted their spell on popular culture. Discover their influence on cinema and its music.
The graphic designer takes us on a tour of his home studio and discusses the influence of collecting books and ephemera on design.
American artist Russ Pope discusses the soundtrack to his work and guides us through his favourite spots in Milano.
The Italian director returns to Cannes with another ode to his city, where the portrait of its upper-class meets its most visceral folklore.
Whether stereotyped or self-celebrated, the subculture has left a trace in the history of Italian cinema. We look back to its legacy, from costumes to music.
The first ever release of the film’s complete soundtrack by Detto Mariano, is the opportunity to look back to the deeper social meanings of the cult opus by Carlo Vanzina.
The recently rediscovered vocal version by Florinda Bolkan of the Ennio Morricone’s classic is a sensual invitation to share the dinner table and perhaps more .
From Ennio Morricone and Piero Piccioni to Bach and Vivaldi, soundtracks are a tool to better decipher the approach of the author and director to cinema and the meanings assigned to the seventh art.
From Louis Vuitton’s latest collection to the new identity of Beyoncé the cowboy lookbook is back, however the legacy of the Western frontier runs deep in the history of fashion, cinema and music.
What remains and what has changed in the way of experiencing the Milan derby more than forty years after Eccezzziunale…veramente. There was a time, at the beginning of the 1980s, when Italian cinema loved to tell tales of urban phenomena, with an eye halfway between blunt sociology and sharp cabaret gags. You had the Yuppies, […]
The 1973 Cannes Film Festival came at a peculiar time for France. Whereas on the other side of the Alps, neighbouring Italy was fine tuning its Molotov cocktails and getting ready for a crescendo of social tension and political violence, France seemed to have slipped back into calm.
On a February evening, a glass of wine in my hand, I found myself in good company. The conversation shifted to a very amiable, courteous, inimitable gentleman who has left us from quite some time now: Federico Fellini.
Rihanna’s nun cover for Interview magazine is only the latest chapter in the culture industry’s
fascination with Nunsploitation, the cult film genre that since the 1970s has been playing with our religious taboos.
As Lady Gaga announced her interest in acquiring the rights to Paola Cortellesi’s C’è Ancora Domani we look back at the US fascination for our cinema.
