Vincere Reviews

  • Mezzogiorno plays Dalser with the kind of fervent intensity once seen in silent films...

    Lisa Schwarzbaum — Entertainment Weekly

  • A sustained, alternatingly exhausting and aesthetically exhilarating howl of a film.

    Manohla Dargis — New York Times

  • It's grand, heartbreaking material, made even more riveting by the fact that it is very likely true.

    Michael O'Sullivan — Washington Post

  • Bellocchio's priorities are electrically clear. Sensation, sensation, sensation. The effect is a rare kind of moviegoing chaos. Are we to laugh, cry, scratch our temples, or grab our dates? In the spirit of the movie, do them all at once.

    Wesley Morris — Boston Globe

  • A movie whose audacious editing fully captures the hot and heavy relationships between past and present, sex and politics, reality and, yes, cinema.

    Rob Nelson — Village Voice

  • There's visual poetry here and haunted performances from Mezzogiorno and Timi -- who plays two roles, and is especially gripping as Dalser 1/2 1/2s grown son.

    Joe Neumaier — New York Daily News

  • Her story is one of endurance and martyrdom, and Bellocchio treats her with grave courtesy, focussing on her battered face as she is subjected to years of beatings in the asylum, and on her drive to escape.

    David Denby — New Yorker

  • The film is beautifully well-mounted. The locations, the sets, the costumes, everything conspire to re-create the Rome of that time. It provides a counterpoint to the usual caricature of Mussolini.

    Roger Ebert — Chicago Sun-Times

  • Carol Crivelli's soaring classical score heightens Bellochio's operatic tendencies.

    Joshua Katzman — Chicago Reader

  • With wild collages of newsreel footage, swirling newspaper headlines, text, and music, Bellocchio fashions a melodrama of epic proportions.

    Steven Rea — Philadelphia Inquirer

  • Vincere is a thrilling period drama about the power of delusions.

    Colin Covert — Minneapolis Star Tribune

  • A passionate, bold look at power, paranoia and betrayal in a little-known corner of history, Vincere is steamy, sad and so Italian it feels like an opera.

    Tom Long — Detroit News

  • Bellocchio's bigger-than-life story requires over-the-top performances, which are provided by Giovanna Mezzogiorno as Ida and Filippo Timi as the young Mussolini and, later, his grown son.

    V.A. Musetto — New York Post

  • Bellocchio has turned the story of Mussolini's discarded wife and son into a movie that has some of the bully swagger and excess of Il Duce himself.

    Jonathan F. Richards —

  • An operatic tour de force.

    Mark Peranson — Globe and Mail

  • The brave and unflinching performance of Giovanna Mezzogiorno is the foundation upon which the bedrock of Vincere rests. She's the heart and soul of the film.

    James Berardinelli — ReelViews

  • He creates an intimate mood while alluding to the general feel of the highly chronicled era without going too far over the top or reconstructing elaborate sets.

    Natasha Senjanovic — Hollywood Reporter

  • Bellocchio tells the film's historical story in an electrifying fashion, mixing in newsreel footage, on-screen slogans and Futurist art, a bit of thunder and lightning and Carlo Crivelli's boom-boom score.

    Glenn Whipp — Associated Press

  • An intense and intriguing, if at times uneven, film with Italian director Marco Bellocchio wringing every drop of emotion out of his actors and his audience before it is over.

    Betsy Sharkey — Los Angeles Times

  • While Dalser's story makes for a potent historical parable, at times it seems like little more than a garden-variety drama about an obsessive woman's scorn.

    Martin Tsai — Critic's Notebook

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