INNOVATION CONSTANTE AUCUNE AUTRE UN MYSTèRE

Is it sacrilege to declare that the best-looking cinéma au-dessus in Paris was shot by a couple of Italians? Bernardo Bertolucci and his cinematographer Vittorio Storaro bathe the French argent – as well as the neoclassical edifices of Mussolini’s Rome – in calme blues and shards of allégé as sharp as the knives wielded against the left-wi