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(released in the US as Luna ) is a 1979 Italian-American drama film directed by Bernardo Bertolucci . The film is known for its controversial exploration of an Oedipal relationship between a mother and her teenage son. Film Overview Director: Bernardo Bertolucci
This scarcity has led cinephiles to seek out the film in unusual places. While major services like JustWatch confirm that La Luna is not currently available for streaming on Netflix, Amazon Prime, or other legal mainstream platforms in most regions, the film has found an unofficial home on video-sharing sites. In particular, the Russian social network has become a notable, though controversial, source for the movie. Users searching for the keyword " la luna 1979 movie okru " are often directed to archived versions of the film uploaded to the platform. While official DVD and Blu-ray releases exist (like Kino Lorber's 2016 edition), for international audiences unable to purchase physical copies, OK.ru has provided one of the few accessible ways to view this Bertolucci oddity.
Following the sudden death of her husband in New York, American opera star Caterina Silveri (Jill Clayburgh) moves to Italy with her 15-year-old son, (Matthew Barry). The Conflict:
Many viewers prefer the intended auditory experience. la luna 1979 movie okru
In Rome, Caterina becomes consumed by her demanding opera performances, leaving Joe isolated in a foreign country. Joe soon spirals into a severe heroin addiction. When Caterina discovers her son's dependency, her desperate attempts to save him morph from maternal protection into an emotionally incestuous entanglement. The narrative shifts into a psychological examination of boundaries, culminating in a search for Joe’s biological father, which may hold the key to the boy's healing. Themes: Oedipal Complexes and Operatic Excess
When Caterina discovers her son's drug habit, she is racked with guilt. In a desperate and psychologically complex attempt to "wean" him off the drugs and pull him out of his addiction, she initiates an incestuous relationship with him. The relationship is depicted not as an act of love, but as a shocking manifestation of a widow's loneliness, a mother's desire for control, and a confused young man's distorted sexuality.
After her husband dies, Caterina moves with her 15-year-old son to Rome. Joe becomes deeply troubled—using heroin, struggling with identity, and developing an intense, disturbing, sexually charged fixation on his mother. The film explores their co-dependent, borderline incestuous relationship as she tries to "save" him. (released in the US as Luna ) is
The narrative of La Luna bridges the gap between the sleek, modern landscape of New York City and the sun-drenched, ancient grandeur of Rome and Parma.
La Luna is not an easy watch. It forces audiences to sit with discomfort and question the very nature of maternal love and psychological collapse. However, it remains an essential film for understanding the full scope of Bertolucci's daring filmography. As one critic noted, even if it isn't the masterpiece it intended to be, it is "unlikely you will have the opportunity to experience a film so brazenly rich and ambitious from today’s filmmakers".
Cinematographer Vittorio Storaro (who also shot Apocalypse Now and The Last Emperor ) bathed the film in rich, operatic colors. The visual contrast between the cold streets of New York and the warm, golden hues of Rome is masterfully executed. Why Viewers Search for "La Luna 1979" on OK.ru While major services like JustWatch confirm that La
The film stars Jill Clayburgh (famous for An Unmarried Woman ) as Caterina Silveri, an American opera singer living in Italy. Following the sudden death of her husband (a famous tenor), Caterina spirals into heroin addiction and codependency. Her 15-year-old son, Joe (played by Matthew Barry), is neglected, confused, and sent to a boarding school where he also falls into drug abuse. The core controversy of the film arrives when Joe confronts his mother during a psychotic break. In a desperate, surreal attempt to stop his drug use and "reconnect," Caterina seduces her son. The film ends ambiguously, with Joe performing on an opera stage, having been "saved" through this transgressive act.
The film follows their tumultuous relationship, focusing on Caterina’s desperate, often erratic attempts to connect with her son, who has fallen into drug addiction. The narrative delves into themes of codependency, the search for identity, and the blurring of maternal care and incestuous temptation. Key Details Bernardo Bertolucci Stars: Jill Clayburgh, Matthew Barry, Tomas Milian Genre: Drama/Psychological Release Date: 1979 The Plot and Psychological Depth
The cinematography in "La Luna" is marked by a dreamlike quality, with long takes and sweeping camera movements that capture the villa's beauty and isolation. The film's use of color is also striking, with a muted palette that reflects the characters' emotional states. The cinematographer, Vittorio Storelli, employs a lyrical and expressive style, often framing the characters in relation to their surroundings.
Key themes include:
The title La Luna (The Moon) is no mere decoration. In Italian, “luna” is feminine—a celestial body that governs tides, cycles, and nocturnal madness. Bertolucci uses the moon as a recurring motif for the mother’s gravitational pull: inescapable, silvery, and capable of drowning a child in emotional high water. The film’s famous shot of a full moon reflected in a puddle of water (later revealed to be Joe’s vomit after an overdose) distills this irony—beauty and poison intertwined.