Mother and Son in the films of Aleksandr Sokurov [-20 films]
Mother and son see the same dreams. Day and night, shaking in pain of waiting. The loss is there, in the roar of the branches, in the train in the distance seen through the grass in autumn. He walks and is holding the mother, become small and thin, sometimes it stops and when the lies in the belly of a tree, the image expands. The existence seems Flemish painted colors, and yet everything follows its order, the person in pain and disease also seems to have been part of Aleksandr Sokurov's dream scenario.
Before the course of events, without external interference, the failure of language finds refuge in the picture. The beautiful paintings that Sokurov's film offers a view of pantheism are dreamed and longed for, where the God who dwells in the breast only shake the conscience by hiding in a dense forest plots. Sokurov's film is a deep place where the viewer is ferried to the darkest depths of intimacy. A mother and son are in another place, at the edge of the world, and expect after having seen and heard everything. The nightmare of the disease rests in the eyes of his son who occasionally turns to presage the event as inevitable. After interrogating silenziosamente il paesaggio e la natura nella sua crudele ma sublime trasformazione, il figlio fa ritorno a casa. Silenzio, ancora. La cinepresa chiude sulla mano stanca della donna che, ormai senza vita, tiene incastrata tra le dita una farfalla, simbolo di fragilità e bellezza. Al figlio rimane il sogno che si paga sempre col prezzo del mattino. by Alessandra Pigliaru
South East: Visconti, Pasolini and Lucania [pellicole -19] 
“Per me spirituale corrisponde a estetico, non religioso. La mia idea che le cose quanto sono più piccole e umili, tanto più grandi e belle sono nella loro miseria" (Pier Paolo Pasolini)
Quando Luchino Visconti approda in Lucania nel 1959 per effettuarvi dei sopralluoghi con l’intento di girarvi delle scene per il film “Rocco e i suoi fratelli” è accompagnato dal fotografo di scena Piero Ronald. Le fotografie relative a questi sopralluoghi saranno ritrovate negli archivi viscontiani molti anni dopo.
Nel 1963 Pier Paolo Pasolini si reca in Palestina, è in cerca di location per realizzare “Il Vangelo secondo Matteo”, il film verrà successivamente girato in 
Italia ed il grosso degli esterni in Lucania.
Nel 1968 esce il film “Teorema”, la regia è di Pier Paolo Pasolini”, in una casa borghese arriva un ospite inatteso, è riservato ed assorto e passa gran parte del suo tempo a leggere Rimbaud, la sua estraneità incuriosisce la famiglia e tutti lo conosceranno intrattenendo rapporti sessuali con lui. Quando se ne andrà in maniera inattesa così come era arrivato, nulla sarà come prima, ogni componente della famiglia cercherà un’alterità di cui l’ospite era portatore.
Le scene che Visconti voleva girare in Lucania e relative al film “Rocco e i suoi fratelli” prevedevano le riprese del funerale del padre della famiglia Parondi, le cui vicende sono narrate nel film, la tintura degli abiti di nero, l’attesa dei disoccupati in cerca di lavoro and the departure of these at a time in the north.
scenes that will never be turned, in fact, the film begins with the arrival of emigrants at the station in Milan.
Visconti had declared in 1960 to "Cahiers du cinéma" that his film was not a melodrama, but a realistic tragedy.
"The Gospel According to Matthew" is a metaphysical film realistically, in that it abandons the search for the mystery of life and death to investigate the sense of the sacred. The host of the silent film "Theorem" embodies the Sacred, its hieratic and its apparent presence without which serves to demystify the identity of others, putting them before the emptiness of their consciences.
The extras Lucan in the movie, just recited, are silent, their eyes and their Palano's east.
Visconti decided instead not to mention those eyes, his is a film about the emigration, a film that should be the life of a family transplanted to the north, its main characters embody the ambition, honor and guilt.
dostojevieskianii and universal themes.
Pasolini sacralized part of the south and its sottoproleteriato. Topics
Tolstojani
Visconti pays tribute to Scotellaro naming the movie "Rocco and His Brothers" I
Basilicata, in the meantime, more and more hospitable or ... guests in their own land. by Antonio Savella
Mother and son see the same dreams. Day and night, shaking in pain of waiting. The loss is there, in the roar of the branches, in the train in the distance seen through the grass in autumn. He walks and is holding the mother, become small and thin, sometimes it stops and when the lies in the belly of a tree, the image expands. The existence seems Flemish painted colors, and yet everything follows its order, the person in pain and disease also seems to have been part of Aleksandr Sokurov's dream scenario. 
