Sunflower

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salvatore V @DVS64 Jul 6, 2026 Se non sei italiano difficilmente potrà piacere,siete troppo ignoranti e avete una cultura cinematografica pari a 0. Un film bellissimo,un capolavoro di Vittorio De Sica,recitato da due grandissimi attori,Sofia Loren e Marcello Mastroianni. Voto 10 con lode See more Navid S. @navidshah94 Dec 3, 2025 I just finished Sunflower and it honestly stayed with me the moment the credits rolled. It’s one of those films that captures the weight of love, loss, and time with such sincerity that you feel every moment. The performances are outstanding; completely lived-in, full of quiet pain and longing. The film balances romance and tragedy so gracefully that you’re constantly caught between hope and heartbreak. Visconti’s influence is felt in the atmosphere, but De Sica gives it his own warmth and humanity. The story itself is devastating, but never manipulative; it earns every emotional beat. It’s the kind of classic that reminds you why Italian cinema of that era was so special;intimate, emotional, and deeply human. A beautiful, tragic love story that I really, genuinely loved. See more Dr. Kumar E @RT03414733 Mar 27, 2025 A very moving love story depicting the sad consequences of war. Directed by V. D’Sica and starring Sophia Loren and Marcello Mastroianni at their best. Definitely worth watching. See more Leaburn O @RT35452347 Jan 28, 2025 Better than I expected even if a bit melodramatically overwrought at times. Watched on Apple TV. See more Eric P @RT06161622 May 4, 2022 Sunflower tells a story about an Italian woman searching for her husband who went MIA during WWII. Sunflower is a pretty nuanced with a wonderful performance from the artistic Sophia Loren who shows that she is a strong woman. The costume designs by Enrico Sabbatini were also nuanced as one could argue that the costume designs contain plenty of symbolism throughout the film. Some of the costume designs symbolized loyalty, adoration, elegance, joy, honor, positivity, and depression. What made this film pretty powerful was the musical score by Henry Mancini and the cinematography by Giuseppe Rotunno. Sunflower feels like visual poetry. See more Jun 20, 2017 Although not the most interesting story (in the script and direction), told by maestro Vittorio De Sica, "I girasoli" has singular moments of visual poetry, interpretation, sound and indisputably of De Sica's ability to record and transmute the simplicities of life. I remember the first films that I watched this, that is, a great inspiration and to those who always devote an absolute favoritism. Vittorio De Sica through the possibilities of presenting and not representing life, as the Italian neo-realist movement wished, giving rise to films that were very close to a documentary record and fascinated by their seam in reverse, without modesty to show the volatile frenzy of a Country and its people, in the face of the new relations that emerge, and in the uncertainty of their durability. Certainly a cultural movement can not be tied to a creator, on the contrary, it must be a device for new constructions, and this is notorious in "I girasoli". Produced in 1970, with a script by Cesare Zavattini and an argument elaborated by Tonino Guerra, famous poet, writer and chronicler of the war. Being an Italo-Franco-Soviet co-production, this allowed for a rare record of the former Communist bloc, in part because of De Sica's good relations with the Italian Communist Party. In the form of an ultra simplistic summary, I would like to say, "I girasoli" is the portrait of a brief happiness in the face of the non-amorous concreteness ruled by the adversities of war and reasons not always surrounded by logical meaning or possible to name. The film succeeds as a moving family drama, and microcosm of the social history of Italy during the 1940s (war period) until the early 1970s. The weight of the commercial influence causes losses notorious for the film, in which its plot is constructed through moorings that seek to structure and punctuate the trajectory of the personages to the molds of the melodramatic structure of the films Hollywood of that time, disfiguring the original character of drama that the film proposes And the crisis relations of the drama, always prosperous element in the hands of the director De Sica. This disfigurement may be noted, for example, in the long and unnecessary record of Masha (Lyudmila Savelyeva) revealing to Giovanna (Sophia Loren) how she found and how she rescued Antonio (Marcello Mastroianni) from the cold and the war. A resource, I think, to further punctuate the melodrama of the story and to even more balance the audience in their love and final end crowd with whom Antonio should stay? The beloved woman or the woman who saved you? There are several moments in the film that result in the same sense, to prolong the melodrama, to balance the decisions of the public and to exhibit explanations, something that makes the film exhausting, explanatory in excess and shallow before the dimension of human questions and the possibilities of social, Political and war-related issues that end up being used only as a background, and which, when evoked, are treated superficially. A highlight and deserves special attention is the relationship established by the protagonists Giovanna (Sophia Loren) and Antonio (Marcello Mastroianni). De Sica had done some work, with Sophia and Antonio as a couple of protagonists, (example: Ieri, oggi, domani -1963). This previous experience, collaborates both for those who have already attended or for those who witness for the first time the partnership between such actors and the director. This total chemistry, ease and intimacy for the game, collaborate exactly, where it does not take more than three minutes, for the public to twist and "ship" the couple Giovanna and Antonio. Something very important and necessary for this story, since the happiness between these two is brief. Just as in a football match, the audience vibrates with the determined, passionate posture of Giovanna - an Italian woman - who goes to Russia to look for Antonio, the husband given as lost during World War II. The crossing is made by urban landscapes and fields of sunflowers, a beautiful, flowery and poetic passage that collaborate in the perspective of a happy ending. The work of Sophia Loren is hard in the attempt to disengage from the muse and sexual appeal common to the history of her characters, and in many moments succeed, but to facilitate the outcome of its history, we have precisely the use of the muse and the sexual appeal, But clearly as a resource imposed by the script and accepted by the management. Already Marcello Mastroianni impresses by charisma and magnetism, a simple portrait of the actor or character are enough. We honestly know that it is not at all a difficult job for both actors, since the characters do not require during the feat, during what is filmed or captured, a scattering of states, feelings and conflicts. The melodramatic load is already in charge of this, but at no time do we see a minor work, a corner job, or a lack of prestige. Highlights for the track of Henry Mancini, famous for creating musical identity in the films in which he works. Giuseppe Rotunno's Photography, especially in all the scenes of crowd, that added to the direction of Vitoria print a true picture of an Italy. Among so many moments of brilliance of direction and photography, I highlight the first scene of war in Russia. The strong and fruitful image of a large red flag swaying in the air and oscillating between projections, background and transparencies of a war in the snow that is stained by the blood of people as lost as the fate of two homelands that oscillate between the mother And the hangman, an opposition who, at the same time, embraces and sentences the life of the citizen (common man), and the soldier of war. See more Read all reviews

Sunflower

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