Siracusa
Jean-Marie Straub pushes this musicality of blocks to a paroxysmal extreme, mixing blocks of time (40 years separate the various extracts that are going to be used, and what is to be filmed), blocks of text (Malraux, Fortini, Vittorini, Hölderlin) and blocks of language (French, Italian, German), and from this ruckus emerges the history of the world, yes, History with a capital H, and from the same movement, the political hope of its being overtaken. So this is an adventure film, about the Human adventure, still one that is always, in the end, overtaken by Nature. (Arnaud Dommerc)
Siracusa
En la Italia de la inmediata posguerra, un grupo de gente que ha perdido todo lo que poseía durante el conflicto, sobrevive en un pueblo en ruinas. Tratan de levantar la ciudad de las ruinas y reiniciar su vida, a imitación de las mujeres de Messina que reconstruyeron la ciudad, devastada por un terremoto. Oscilando entre el respeto y la sospecha, la coexistencia entre los miembros del grupo es tensa. Las cosas se complican cuando un eviado del gobierno llega para decirles que nada de lo que tienen les pertenece. La película es una libre adaptación de fragmentos de la novela Las mujeres de Messina, del escritor siciliano Elio Vitorini.
Siracusa
A group of men and women have been brought together after World War II, when Italy regained its national and territorial unity. They make up a primitive community which seeks to erase not only the distress created by the war but also the hardships of life, and look to protect themselves from violence, misery and fear. Amid the ruins of this post-war period, these men and women build a new rapport between themselves, between sexes, between generations, between social and geographical origins, between political camps.
