Padre Pio: Miracles and Politics in a Secular Age by Sergio Luzzatto, translated from the Italian by Frederika Randall
Papi: Uno Scandalo Politico (Papi: A Political Scandal) by Peter Gomez, Marco Lillo, and Marco Travaglio
Il Regalo di Berlusconi (The Gift of Berlusconi) by Peter Gomez and Antonella Mascali
Gradisca, Presidente: Tutta la verità della escort più famosa al mondo (At Your Pleasure, Mr. President: The Whole Truth About the Most Famous Escort in the World) by Patrizia D'Addario, with Maddalena Tulanti
Guzzanti vs Berlusconi by Paolo Guzzanti
Videocracy a film directed by Erik Gandini
La deriva: perché l’Italia rischia il naufragio (Adrift: Why Italy Risks a Shipwreck) by Gian Antonio Stella and Sergio Rizzo
La paura e la speranza (Fear and Hope) by Giulio Tremonti
Se li conosci li eviti (If You Know Them, You Avoid Them) by Peter Gomez and Marco Travaglio
Gomorrah by Roberto Saviano, translated from the Italian by Virginia Jewiss
Italy and Its Discontents: Family, Civil Society, State, 1980-2001 by Paul Ginsborg
“The Patrimonial Ambitions of Silvio B” by Paul Ginsborg
Empire by Michael Hardt and Antonio Negri
A History of US by Joy Hakim
Build Our Nation
Our United States
United States: Adventures in Time and Space
Films that have won in the Best Foreign Film category at the Oscars have usually satisfied a taste for otherness. The case of Human Capital, which was Italy’s entry for this year’s Oscar but was not nominated by the Academy, may be instructive in this regard.
If Marcello in Federico Fellini’s La Dolce Vita had spent another four decades flitting about the high life of Rome he might have turned into someone like Jep Gambardella, the protagonist of Paolo Sorrentino’s La Grande Bellezza.
Behind 1920s Italy’s official façade of bourgeois morality, Pitigrilli’s novels described a world driven by sex, power, and greed. Mussolini was a fan.
La Grande Bellezza is a visual feast, one of the relatively few films that takes full advantage of the extraordinary, almost hallucinatory beauty of Rome.