Marx puo' aspettare

Psychoanalyst Massimo Fagioli, a friend and collaborator of Marco Bellocchio, once remarked that the director’s artistic greatness arises from the fact that he is a “great depressive” who risks the “destruction of his individual identity”. Every fan of Bellocchio’s cinema recognizes its underlying autobiographical elements, especially in relation to his close-knit family.
In MARX CAN WAIT, he exposes a particular, crucial trauma: the suicide at 29 of his depressed twin brother Camillo. It happened in 1968, when Marco’s revolutionary fervor somewhat blinded him to Camillo’s deep-seated problems. In this beautiful documentary, the remaining members of the Bellocchio family gather to piece together – sometimes in conflicting accounts – this troubled past. Other friends and specialists are also called upon to comment.
Punctuated with vivid clips from the director’s fiction work (FISTS IN THE POCKET, LEAP INTO THE VOID, MY MOTHER’S SMILE), this investigation intermingles lucidity with longstanding feelings of guilt and regret – and is especially memorable for the disapproving looks with which Marco’s adult children, Elena and Pier Giorgio, greet his self-justifications and evasions. (Adrian Martin)

Marco Bellocchio: I PUGNI IN TASCA (1965), LA CINA È VICINA (1967), NEL NOME DEL PADRE (1971), SBATTI IL MOSTRO IN PRIMA PAGINA (1972), IL GABBIANO (1977), DIAVOLO IN CORPO (1986), IL SOGNO DELLA FARFALLA (1994), BUONGIORNO, NOTTE (2003), VINCERE (2009), BELLA AD- DORMENTATA (2012), SANGUE DEL MIO SANGUE (2015), FAI BEI SOGNI (2016), IL TRADITORE (2019), ESTERNO NOTTE (2022, TV-Series)