Italian neorealism was a hugely influentialfilm movement that emerged in the aftermath of World War II. Rooted in the economic and social struggles of that era,neorealism sought to portray the harsh realities of everyday life, often focusing on the working class. The watchword for the movement was authenticity. Stylistically, these filmmakers aimed to present an unfiltered vision of society, achieved with the use of non-professional actors, natural lighting, and real locations.
Italian neorealism was relatively short-lived, petering out by the late 1950s, yet its impact was massive, with similar movements springing up around the globe. Even all these decades later, filmmakers continue to borrow some of its elements and preoccupations. With this in mind,this list looks at some of the core neorealist films that sum up all that the movement was about, the best of which remain compelling today.
10’Il tetto' (1956)
Directed by Vittorio De Sica
“If we can finish the roof by dawn, they can’t tear it down.“Il tetto(meaningThe Roof) revolves around a young married couple, Luisa (Giorgio Listuzzi) and Natale (Gabriella Palotta). Unable to afford proper housing, they hatch a plan to construct a modest roof over their heads on a vacant lot. Italian law at the time permitted unfinished buildings to remain standing if construction was completed overnight, meaning they must race to finish the work before it’s too late.
This is classic neorealist stuff, with a focus on ordinary people under social and financial pressures.The simplicity ofIl tettois what makes it so effective.Despite the small-scale story, the limited cast of characters, andthe lean 91-minute runtime, directorVittoria De Sicastill manages to turn the film into a broader social statement.Il tettois also lighter and a little more comedic than a lot of its neorealist peers, making it a decent starting point for newcomers to the movement.
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9’Francesco, giullare di Dio' (1950)
Directed by Roberto Rossellini
“Perfect joy is to bear all wrongs patiently, for the love of Christ.“Francesco, giullare di Dio(akaThe Flowers of St. Francis) presents a series of vignettes inspired by the life ofSaint Francis of Assisi(Nazario Gerardi) and his followers. The episodes illustrate acts of faith, charity, and humanity, from Francis blessing animals to the friars offering shelter to lepers. The emphasis is on the humility and humor of the friars' simple lives.
Francesco, giullare di Dioinvites the viewer into the peaceful and spiritually rich world that St. Francis inhabited.
Roberto Rossellini employs a documentary-like style, using non-professional actors, including actual monks. Likewise, the use ofblack-and-white cinematographygives the film a timeless, contemplative quality that complements the subject matter. Taken together, these elements invite the viewer into the peaceful and spiritually rich world that St. Francis inhabited. However, in 1950, this approach would have stood in stark contrast to the hardscrabble material conditions prevailing in Italy, where most people were more worried about how they would put food on the table than matters of the soul.
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8’La terra trema' (1948)
Directed by Luchino Visconti
“The seat is butter, but it gives us everything.“La terra trema(The Earth Trembles) is a visually striking tale set in a small Sicilian fishing village. It chronicles the trials of the Valastro family as they struggle against economic exploitation by wealthy wholesalers who control the local fishing industry. When young Ntoni Valastro (Antonio Arcidiacono) attempts to break free by starting his own business, he faces fierce resistance, financial ruin, and social ostracism.
Director Luchino Visconti decided that the real people living there would do a better job of this than any actors, telling their stories with a compassionate touch and a focus on emotional complexity.
The film is notable for its docufiction approach, combining professional and non-professional actors with scripted and unscripted movements and shot in actual Sicilian locations. Visconti wanted to capture the essence of the locals and their way of life (which hadn’t changed much, despite the turbulence of the 1930s and ’40s). He decided that the real people living there would do a better job of this than any actors, telling their stories with a compassionate touch and a focus on emotional complexity.
7’Germany, Year Zero' (1948)
“In times like these, it’s hard to know what’s right or wrong.“Germany, Year Zerois the final chapter inRoberto Rossellini’s World War II trilogy. Set amidst the ruins of postwar Berlin, this harrowing drama follows 12-year-old Edmund (Edmund Moeschke), who struggles to support his family in the shattered city. As he navigates a world of desperation, he encounters a Nazi-sympathizing former teacher (Erich Gühne) who manipulates him into committing an unthinkable act.
The resulting film isunderstandably heavy-going but also undeniably powerful.There are truly harrowing landscape shots here showing a city shattered by the war. Its inhabitants are similarly broken, drifting through a society unmoored from its moral foundations. Through them, the film makes a bleak comment on the lingering effects of fascism. At the same time, Rosselini never loses sight of his young protagonist. “[The whole movie] was conceived specifically for the scene with the child wandering on his own through the ruins,” he hassaid.
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6’Stromboli' (1950)
“This island is like a prison.” The titular Stromboli is a remote volcanic island. Karin (Ingrid Bergman), a Lithuanian refugee, moves there after marrying Antonio (Mario Vitale), an Italian fisherman. It’s a marriage of convenience, representing Karin’s ticket out of the displaced persons' camp. Hoping for a better life on the island, Karin instead finds herself trapped by the unforgiving environment and the community’s rigid traditions.
The finished product is introspective and contemplative, using the volcanic backdrop as a mirror for Karin’s growing despair and suppressed frustration. The raw, unpolished cinematography byOtello Martelliamplifies the starkness of the setting. The rocks, waves, and solidified lava flows practically become characters in their own right. However, the real highlight here is theintense, committed performance by Bergman. She is layered and believable, carrying much of the film singlehandedly. Consequently, her character becomes a stand-in for countless people in similar situations.
5’Ossessione' (1943)
“We are two of a kind, bound by the same fate.“Ossessione(meaningObsession)is often cited as the first Italian neorealist film (though some would, of course, dispute this). It’s an adaptation ofJames M. Cain’s novelThe Postman Always Rings Twiceand follows Gino (Massimo Girotti), a drifter who begins a passionate affair with Giovanna (Clara Calamai), the wife of a struggling innkeeper (Juan de Landa). Together, they conspire to murder her husband, but their guilt and mistrust unravel their relationship and lead to tragic consequences.
Whilethe story retains elements of film noirand melodrama, Visconti’s decision to ground the film in a grim, realistic environment and to cast actual, working-class actors added a lot of authenticity. The aesthetics reflect this, too, leaning into long takes and minimal editing. Thus,Ossessionehelped lay the foundation for all of Italian neorealism, and future directors would look to it as a blueprint.
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4’Rome, Open City' (1945)
“It’s not hard to die well; it’s hard to live well.” This landmark film is the first installment in Rosselini’s loose wartime trilogy. The plot centers on Giorgio (Marcello Pagliero), a Resistance leader hiding from the Gestapo, and the ordinary citizens who risk their lives to protect him. Among them are Pina (Anna Magnani), a pregnant widow, and Don Pietro (Aldo Fabrizi), a courageous priest.
Rome, Open Citywas shot on location in Rome shortly after its liberation and with limited resources, lending itan immediacy and unvarnished feel that was highly influential. In addition,Rossellini refuses to sugarcoat the realities of war, collaboration, and resistance yet still manages to find some reasons for optimism. Perhaps most impressively of all, the characters are complex and driven by competing motivations. For all these reasons,Rome, Open Cityis now widely regarded as a classicand holds a 100% on Rotten Tomatoes.
Rome, Open City
3’La Strada' (1954)
Directed by Federico Fellini
“What a strange destiny to be born a woman.“La Strada(The Road) is something of a controversial pick, as it represented a fusion of neorealism with new ideas. It was the moment that directorFrederico Fellini(I Vitelloni,La Dolce Vita) began to break with some of the movement’s tenets. Plot-wise, it’s about Gelsomina (Giulietta Masina), a simple, kind-hearted woman sold by her impoverished mother to Zampanò (Anthony Quinn), a brutish traveling strongman.
As they journey across Italy, Gelsomina endures Zampanò’s cruelty while forging a connection with Il Matto (Richard Basehart), a whimsical tightrope walker who appreciates her unique spirit. Fellini hassaidthat of all of his fictional creations, Gelsomina, Zampanò, and Il Matto were the ones he was most attached to. Through these characters,Fellini crafts a more poetic take on neorealismjam-packed with emotion and bittersweet comedy. This approach was controversial at the time, but the movie is now widely beloved.
2’Umberto D.' (1952)
“I have my pride, but it’s all I have left.“Umberto D.is a portrait of an elderly man’s struggle to retain his dignity in the face of poverty and isolation. The title character (Carlo Battisti) is a retired civil servant living in Rome who battles to keep his modest apartment on a meager pension. His only companions are his loyal dog, Flike, and Maria (Maria-Pia Casilio), a compassionate housemaid. As the situation grows more dire, Flike remains Umberto’s source of hope.
Umberto D.’s performances are fittingly naturalistic, and much of the appeal stems from the simple bond between the dog and his master.
The best part ofUmberto D.is its emotional honesty.This is a movie that never puts on airs and graces but simply tells its story straightforwardly, without bells and whistles. The performances are fittingly naturalistic, and much of the appeal stems from the simple bond between the dog and his master, making it quintessential neorealism.Umberto D.was embraced by critics as well as many filmmakers, includingIngmar Bergman, whosaidit was the movie that he “may love most of all.”
1’Bicycle Thieves' (1948)
Naturally,these two figures become symbols for broader working-class issues in postwar Italy. It’s a powerful and universal story about the struggle to provide. However, rather than being didactic,Bicycle Thievesis enjoyable and engrossing, even in the sadder moments. For this reason, the movie enjoys an impressive critical reputation, appearing on many publications' lists of the greatest films of all time.Bicycle Thievesis a masterwork of Italian neorealism, and its influence runs deep, with countless directors - fromSatyajit RaytoAkira KurosawaandMartin Scorsese- citing it as an inspiration.
Bicycle Thieves
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