The Museum is open 11:00 – 19:00
Cinema is closed now
The Museum is open 11:00 – 19:00
Cinema is closed now
Fist in His Pocket
Before the film, we invite you to an introduction by Michał Oleszczyka, and after the screening there will be a discussion with Anna Osmólska-Mętrak.
In a sense, this is the film that started it all—the biggest scandal in Italian cinema of the 1960s and a cinematic stick of dynamite planted under the established institutions of family, religion, and bourgeoisie, from which screenwriter and director Marco Bellocchio hails.
Fists in the Pocket signals in its title that it is a film based on anger – and its epicenter is young Alessandro, the son of a declining bourgeois family, who watches its decline with disgust. Young Swedish actor Lou Castel creates an unforgettable portrait of a young man who feeds on constant mockery and negation, slowly turning his aggression against his own (widowed and blind) mother, his mentally ill brother, and his sister, for whom he feels incestuous desire.
This hilarious satire on total rebellion (indebted to Hamlet, but in Poland inevitably evoking associations with Mrożek's theater) is a film of extraordinary freshness—and to this day the most celebrated work of Bellocchio's entire career.
As Polish critic Andrzej Werner wrote, predicting the title of the last film in our series: "This struggle does not take place amid joyful fanfare; it is more like a ghoulish wrestling match between corpses" (Film 22/1971).
Fists in the Pocket signals in its title that it is a film based on anger – and its epicenter is young Alessandro, the son of a declining bourgeois family, who watches its decline with disgust. Young Swedish actor Lou Castel creates an unforgettable portrait of a young man who feeds on constant mockery and negation, slowly turning his aggression against his own (widowed and blind) mother, his mentally ill brother, and his sister, for whom he feels incestuous desire.
This hilarious satire on total rebellion (indebted to Hamlet, but in Poland inevitably evoking associations with Mrożek's theater) is a film of extraordinary freshness—and to this day the most celebrated work of Bellocchio's entire career.
As Polish critic Andrzej Werner wrote, predicting the title of the last film in our series: "This struggle does not take place amid joyful fanfare; it is more like a ghoulish wrestling match between corpses" (Film 22/1971).