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In Michael Davis’s amicably deranged action romp from 2007, she plays a prostitute who specialises in adult breastfeeding, and who ends up helping care for the baby Clive Owen’s expert marksman is trying to protect.
It’s a role that makes you reflect on Bellucci’s own 25-year acting career: like Milly, she seems to have beamed down to the drab present from another era, where the colours are brighter and emotions more keenly felt.We don’t see Bellucci for almost the entire first half of Gaspar Noé’s Irreversible – which, because the film’s scenes play in reverse order, is the last half of the story.She plays Alex, a pretty Parisian who’s raped at knifepoint then beaten unconscious on her way home from a house party.Among many other things, Catholicism gave Italian cinema its Madonna-whore complex: a compulsion to grade women as either chaste, angelic doves – these ones are often also mothers – or sexually ravenous wildcats.(For almost two hours of this stuff, see Malèna.) The uneasy upshot is that casting an Italian actress can occasionally be dramatic shorthand for one or the other character type, so when news broke that Mel Gibson had cast Bellucci as Mary Magdalene in his dramatisation of the Passion of Jesus, it made a weary kind of sense.