In the first half of Girl with a Suitcase, 16-year-old Lorenzo (Jacques Perrin) looks after the showgirl, Aida (Claudia Cardinale), whom his older brother, Marcello (Corrado Pani), promised to help before cruelly and casually ditching her during a road trip. Unaware that Lorenzo is Marcello’s little brother, Aida accepts his kindness at face value, knowing that doing so may cause him to become emotionally attached to her, but, exhausted and embittered, she can’t resist the reprieve of a young man actually treating her with warmth and tenderness.
Throughout Girl with a Suitcase, the filmmakers use an array of wide shots to elucidate the feelings of alienation and isolation that grip the characters by surrounding them with negative space, and in settings ranging from the immense rooms in Lorenzo’s parents’ mansion to sparsely populated seaside locales. Via meticulous compositions and Perrin and Cardinale’s empathetic performances, the film...
Throughout Girl with a Suitcase, the filmmakers use an array of wide shots to elucidate the feelings of alienation and isolation that grip the characters by surrounding them with negative space, and in settings ranging from the immense rooms in Lorenzo’s parents’ mansion to sparsely populated seaside locales. Via meticulous compositions and Perrin and Cardinale’s empathetic performances, the film...
- 5/2/2025
- by Derek Smith
- Slant Magazine
[This October is "Gialloween" on Daily Dead, as we celebrate the Halloween season by diving into the macabre mysteries, creepy kills, and eccentric characters found in some of our favorite giallo films! Keep checking back on Daily Dead this month for more retrospectives on classic, cult, and altogether unforgettable gialli, and visit our online hub to catch up on all of our Gialloween special features!]
[This piece was done in collaboration with Gian Giacomo Petrone.]
Born in Villa del Conte, near Padua, Antonio Bido fulfills his academic education at the University of Padova, where he graduates in literature with a thesis on Italian horror cinema. His directorial debut arrives in 1970 in the form of the experimental feature-length project Dimensioni (translation: Dimensions), followed a year later by Alieno da (translation: Alien From), a film with a similarly Dadaist approach, both of which were much appreciated at various contemporary Italian festivals. After a brief apprenticeship with director Giuseppe Ferrara, in 1977 Bido gets to work on his first real film, produced and conceived within the structure of the industry and followed by professional technicians and actors, Il gatto dagli occhi di giada (Watch Me When I Kill). The success of this film will allow Bido to have exponentially greater decisional power on his next feature film, Solamente nero, another well-regarded effort. Despite this more than flattering beginning, Bido...
[This piece was done in collaboration with Gian Giacomo Petrone.]
Born in Villa del Conte, near Padua, Antonio Bido fulfills his academic education at the University of Padova, where he graduates in literature with a thesis on Italian horror cinema. His directorial debut arrives in 1970 in the form of the experimental feature-length project Dimensioni (translation: Dimensions), followed a year later by Alieno da (translation: Alien From), a film with a similarly Dadaist approach, both of which were much appreciated at various contemporary Italian festivals. After a brief apprenticeship with director Giuseppe Ferrara, in 1977 Bido gets to work on his first real film, produced and conceived within the structure of the industry and followed by professional technicians and actors, Il gatto dagli occhi di giada (Watch Me When I Kill). The success of this film will allow Bido to have exponentially greater decisional power on his next feature film, Solamente nero, another well-regarded effort. Despite this more than flattering beginning, Bido...
- 10/16/2020
- by Eugenio Ercolani
- DailyDead
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