Jay Weissberg “Fists in the Pocket” director Marco Bellocchio has long woven elements of autobiography into his work, threading personal themes of siblings, madness and suicide through his most intimate films.
Far less apparent until now was how the maestro sublimated himself behind the fiction, using cinema to address such elements on screen so as to avoid processing them on a consciously verbal level.
With “Marx Can Wait,” he mixes up that pattern, delivering a frank and revealing documentary about his family — and most especially himself — that centers on his twin brother Camillo, who committed suicide in 1968.
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