Director of Italian cinema, born in Piacenza, on November 9, 1939.
Diploma in direction at the prestigious Centro Sperimentale di Cinematografía in Rome and at the Slade School of Fine Arts in London, he/she took his first steps in the world of cinema with some other short and participating occasionally as an actor, as in Francisco de Asís (1966), with her friend Liliana Cavani. Debuts with hands in pockets and China is close, where they begin to become evident some of his obsessions and plot constants: strong political charge, autobiographical nature of much of his work and big controversies that provide notable national and international successes. In the name of the father (1971) is a prime example: it's a torn vision of Catholic education of the post-war Italy through the story of a religious school that is very similar to those who frequented own Bellochio during his childhood. Triumphal March (1976) is a fierce critique of the Italian general military institution and compulsory military service in particular. In 1979 makes jump into the void with capital and French actors, history of the strange and almost incestuous relationship of a pair of brothers. This Marin Karmitz production for his company MK2 begins to reveal another of his great obsession, psychoanalysis. This obsession takes you even write the screenplays for their latest films in collaboration with his psychoanalyst, Massimo Fagioli. A few years earlier, in 1974, he/she made collective experimental film crazy unleash. Filmed on a cooperative basis on the proposal of the provincial administration of Parma, it tries to put into practice theories Marxist film production and structuralist current in fashion at the time about the treatment of psychiatric patients, what in Italy is called the "democratic Psychiatry", marked Communist tendency. Combines during the 1970s and 1980s years his film career with productions for television, such as theatrical adaptations of Chekhovor Pirandello.
The biggest controversy of the many that have always accompanied his work is produced with the devil in the body (1986). This personal adaptation of the eponymous novel by Raymond Radiguet represents the international launch of Marushka Detmers as sex symbol. Bellochio transforms the original story and adapts it to the social and political context of the 1980s Italy, counting the loves - and sexual encounters - between the daughter of a Commissioner killed by the Red Brigades and girlfriend of a terrorist processed with the son of her psychoanalyst. The scandal comes caused by explicit sexual sequences. Controversy followed accompanying you in his film the sentence, to be accused by feminist movements of misogynist and even make apology for the violation.
1961: The colpa e the penalty; Cassion il zio.1962: Ginepro fatto uomo.
1965: Hands in pockets (and screenplay). 1967: China is close to (and argument and screenplay). 1968: Discutiamo, discutiamo (episode of Amore e rabbia). 1969: Paola (Co-Director). 1970: Viva il primo maggio rosso (Co-Director). 1971: in the name of the father (and screenplay). 1972: news of a rape in first pagina.1974: crazy unleash (Co-Director). 1976: triumphal March (and screenplay). 1977: Il gabbiano (and screenplay).1978: La macchina cinema (Co-Director and screenplay). 1979: leap into the void (and screenplay). 1980: Vacanze in Valtrebbia.1982: Gli occhi, the bocca (and screenplay). 1984: Enrico IV (and screenplay). 1986: the devil in the body (and screenplay). 1988: visione it the sabba (and screenplay). 1991: conviction (and screenplay). 1994: Il sogni della farfalla.1995: Sogni infranti.1997: Principe di Homburg (and screenplay). 1999: the balia (and screenplay).2003: Good morning, night.
1966: Asís.1971 francisco: Pianeta venere (and screenplay). 1975: Salò to the 120 days of Sodom (Narrator).
LANDLORD, Juan Carlos to the. Dictionary of Directors. (Madrid: Ediciones JC, 1992).
PASSEK, Jean-Luc et to the. Dictionary of cinema. (Librairie Larousse, 1986). Version Española de URABAYEN CASCANTE, Miguel. (Madrid: Rialp, 1991).