Monica Vitti, born Maria Luisa Ceciarelli in Rome in 1931, was one of the most versatile and influential Italian actors of the 20th century. Known for her work across both dramatic and comedic cinema, she demonstrated a rare ability to combine physical beauty with sharp comedic instincts. Her performances challenged the traditional roles available to women in Italian film, especially during the postwar period.
Her early collaborations with director Michelangelo Antonioni established her as a central figure in modernist European cinema. In La Notte (1961), she played opposite Marcello Mastroianni and Jeanne Moreau in a quiet, interior role that emphasized restraint and psychological complexity. The film was part of Antonioni’s tetralogy on alienation, and Vitti’s work helped define the tone and visual language of that era.
Vitti’s transition to comedy in the mid-1960s marked a turning point. In La ragazza con la pistola (1968), directed by Mario Monicelli, she portrayed Assunta Patanè, a Sicilian woman who travels to England to exact revenge on a former lover. The performance earned her critical acclaim and popular success, and the film became a defining moment in her career. It also marked a shift in public perception—proof that an Italian actress could be funny, expressive, and commercially viable without sacrificing sophistication.
Other notable films include Ti ho sposato per allegria (1967), directed by Luciano Salce, where she plays a newlywed navigating class differences; La supertestimone (1971), a satirical take on courtroom drama; and Io so che tu sai che io so (1982), co-starring and directed by Alberto Sordi, in which she plays a woman uncovering secrets in her marriage. These roles showed her range and her consistent ability to anchor a film regardless of genre.
Vitti was awarded five David di Donatello Awards for Best Actress and was a dominant presence in Italian film throughout the 1960s and 1970s. Her capacity to shift between dramatic minimalism and physical comedy distinguished her from contemporaries. She worked with nearly all major directors of her time and maintained strong artistic control over many of her projects.
Her legacy is now being honored in Monica Vitti: La Modernista, the first full North American retrospective of her work, co-presented by Cinecittà and Film at Lincoln Center. The series includes 14 films spanning her career, with five restored in 4K by Cinecittà. Three of these restorations—La ragazza con la pistola, Ti ho sposato per allegria, and Io so che tu sai che io so—are receiving their world premieres during the retrospective.
Alongside the screenings, visitors can explore a poster exhibition at the Furman Gallery at Lincoln Center. The exhibit includes 13 original film posters loaned by Posteritati and Cinecittà. Each poster corresponds to one of the featured films in the program and reflects the marketing and iconography associated with Vitti’s evolving image.
Upcoming Screenings – Monica Vitti: La Modernista
Film at Lincoln Center (June 6–19, 2025)
• June 9, 6:30pm – Ti ho sposato per allegria (World Premiere)
• June 10, 8:45pm – Deserto rosso
• June 12, 6:15pm – La supertestimone
• June 15, 7:00pm – Io so che tu sai che io so (World Premiere)
• June 18, 9:00pm – La ragazza con la pistola (Encore)
Companion Exhibit: Posters of Vitti
Furman Gallery at Lincoln Center, through June 19
Open daily during screening hours. Free admission.
