JANUS' LIMBO

JANUS' LIMBORome in 1959, just before the release of Fellinis La dolce vita: the nobles of old and the arrivistes, the snobs and the beautiful people, the cinema and the bigots, the pseudo intellectuals and the artists. And Giada Rovi Sanlupi, the moody, unconventional daughter of a papal aristocrat. And Germaine Kenneth, the sophisticated bisexual Shakespearian English actress evocative of Canovas Venus Victrix. And the pushy, promiscuous showjumper Bea

Rome in 1959, just before the release of FelliniÕs La dolce vita: the nobles of old and the arrivistes, the snobs and the beautiful people, the cinema and the bigots, the pseudo-intellectuals and the artists. And Giada Rovi-Sanlupi, the moody, unconventional daughter of a papal aristocrat. And Germaine Kenneth, the sophisticated bisexual Shakespearian English actress evocative of CanovaÕs Venus Victrix. And the pushy, promiscuous showjumper Bea Alemanni. All come together in a psychological piece of fiction where the mal mariŽ Cristiano Belisario, its Ôinternal focalizerÕ, has completed a film dramatization of Pauline BonaparteÕs life only to discover that his individual freedom, both as an ambitious screenwriter and as a passionate man, is like the large looking glass of a small drawing room: it merely gives an illusion of space.