Il gabbiano (Marco Bellocchio, 1977)
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Il gabbiano (Marco Bellocchio, 1977)

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Assassinio sul Tevere (Bruno Corbucci, 1979)
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Squadra antigangsters (Bruno Corbucci, 1979)
it's [whatever ghastly temperature it is] AND I have a fever which naturally means I've spent the day in bed with Nico Giraldi

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Glissements progressifs du plaisir (1974)/L'Homme qui ment (1968), dir. Alain Robbe-Grillet
Qui donc a rĂȘvĂ© ? (Liliane de Kermadec, 1965)
Qui donc a rĂȘvĂ© ? (Liliane de Kermadec, 1965)
Qui donc a rĂȘvĂ© ? (Liliane de Kermadec, 1965)
Qui donc a rĂȘvĂ© ? (Liliane de Kermadec, 1965)

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Qui donc a rĂȘvĂ© ? (Liliane de Kermadec, 1965)
Qui donc a rĂȘvĂ© ? (Liliane de Kermadec, 1965)
Identificazione di una donna (Michelangelo Antonioni, 1982)
Trans-Europ-Express (Alain Robbe-Grillet, 1966)
Toi... le venin (Robert Hossein, 1959)

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Toi... le venin (Robert Hossein, 1959)
Darkness. The lights come back on, revealing a beautiful, luminous, neocapitalist setting. (Yes, let's make it an industrial Milanese landscape, if not an enlarged colour still of Antonioni's Ravenna.) Laura's mimetic ballet now consists of the following: She holds a doll in her arms, or beside her, very large and reproducing her own features. She slowly unscrews its head and screws on another, exactly the same. Then she repeats the action with one arm, then the other, etc., until she has reconstructed the entire doll, which is therefore the same, but different. Tragic music accompanies her ballet and action.
Italie magique (Pier Paolo Pasolini, 1965)