La Luna is perhaps best known—and most debated—for its unflinching exploration of the mother-son bond. Bertolucci creates a narrative where the boundaries between maternal love and obsession blur. The film posits that the only way Caterina can save her son from his self-destruction is to regress him to a state of infantile dependency. This leads to scenes of startling intimacy that shocked audiences upon release, challenging the viewer to sympathize with characters navigating a psychological minefield.
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The story follows Caterina Silveri (Jill Clayburgh), a renowned American opera singer living in New York. Following the sudden death of her husband, Douglas (Fred Gwynne), Caterina decides to move to Italy to join an opera tour, bringing her teenage son, Joe (Matthew Barry), with her. La Luna is perhaps best known—and most debated—for
Directed by the legendary Bernardo Bertolucci (1979)—often titled simply This leads to scenes of startling intimacy that
At the time of its release, La Luna was met with significant backlash due to its depiction of an incestuous relationship between mother and son. Critics were divided on whether the film was a profound psychological study or mere provocation. However, decades later, the film is viewed more through the lens of Bertolucci’s obsession with Freudian themes and the "death of the father" motif that haunts much of his work. Finding La Luna on OK.ru
If you are looking to explore more of Bertolucci's filmography, I can provide information to advance your search.
Bernardo Bertolucci, the acclaimed director of Last Tango in Paris (1972) and The Last Emperor (1987), directed La Luna from a screenplay he co-wrote with his wife, Clare Peploe, and his brother, Giuseppe. The story follows the tumultuous life of Joe, the 15-year-old son of a famous American opera singer named Caterina Silveri.