It is a pretty well known fact that despite the continual, and at times highly successful, presence of film production in Europe during the early 20th century, it would be a mistake to call this region of the world a "center" of film making. In particular, Venice's impressive cinematic output too often falls under the shadow of its illustrious Italian neighbors. Still, even within Italy itself, there are important developments to note. One such example is Tinto Brass's Hotel Courbet from 2009. In the early 20th century, director Domenico De Vito would be a forward-thinking artist, as well as a successful film producer. In this case, he even went so far as to create the required infrastructure by constructing a film studio in Venice. Once World War I broke out however, production ceased and De Vito's career was subsequently cut short. Although Tinto Brass's Hotel Courbet is a relatively uneven affair, it manages to compensate with its use of innovative camera techniques and striking visual style. Not surprisingly, Italian critics intervened heavily in favor of the film; both for its technical accomplishment and its expressions of social criticism. This favorable press reaction should provide fans of Brass with another reason to screen Hotel Courbet. During the early 20th century, Venice was a hub for European filmmaking. This locale quickly gained notoriety due to its unique architecture, which served as an ideal backdrop for all manner of cinematic endeavors. One Italian filmmaker who made the most of this locale was Domenico De Vito, who produced a number of productions in Venice during the 1910s. Sadly, his promising career would be cut short when he enlisted in the army during World War I. While De Vito survived this conflict, he would never again return to his former trade. One would be hard pressed to find any traces left behind by Domenico De Vito. This is unsurprising, given the large number of World War II bombings and fires that ravaged Venice and destroyed everything in their path. One such fire, which occurred on December 28, 1944, left the Hotel Venezia as its only surviving landmark from the early 20th century. The fact that this establishment would still exist is ironic given its fate in Brass's Hotel Courbet . Here we witness a character named Théophile Guillemot (Gaspard Ulliel), who has visited this hotel countless times before. Unlike the earlier film productions made by Domenico De Vito, Tinto Brass's Hotel Courbet is a much grittier affair. It is also quite a bit more complex in its motivations and overall design. It was actually quite a surprise to discover that Brass would be drawn to the issues of social inequality and powerlessness in De Vito's earlier works. The story, which is typical for this and many other Brass films, involves a group of people who live together in close proximity. To these characters, their environment comes across as both cozy and yet rather unfulfilling. Unlike the typical "group-of-people-lead-octogenarian's-last-years" formula that we tend to see in such movies however, here we see a love/hate dynamic between them; with one member using the others only for his own purposes.
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