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    ‘Emily In Paris’ Goes on a Roman Holiday

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    The frothy Netflix show frustrated Parisians with its portrait of their city. Now its heroine is heading to Rome — and the showrunner doesn’t care if residents there feel the same way.“Emily in Paris,” the hit Netflix series about a young American living a life of romance and luxury in France, has ignited a blaze of indignation since it premiered in late 2020.Emily’s clumsy grasp of the native tongue, brash designer clothes and exaggerated encounters with dashing chefs and flamboyant artists left some Parisians irate and American expatriates embarrassed, even as it became one of Netflix’s most popular comedies.Now in its fourth season — split into two installments, with the second arriving Thursday — the show continues to both charm and vex with its sunny vision of what the French newspaper Liberation has called “Disneyland Paris.”But in the new batch of episodes, Emily (Lily Collins) departs Paris and heads to Rome. Invited by her new Italian love interest Marcello (Eugenio Franceschini), she zooms around on his scooter, offering a picture-postcard view of the Eternal City with stops at touristic hallmarks like the Trevi Fountain, the Colosseum and the Spanish Steps. As he entices Emily to move on to a new European capital, Marcello makes a pitch that doubles as the season’s mandate: “Forget about crepes. We’ll be eating pizza.”Darren Star, the creator and showrunner of “Emily in Paris,” said that Emily “was becoming very comfortable in Paris. I wanted to throw her into some unfamiliar waters.” He added that “we were able to live Emily’s life in Paris, and now we’re going to do the same thing in Rome.”Lily Collins as Emily, exploring her new surroundings.Giulia Parmigiani/NetflixWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Gérard Depardieu Punches the ‘King of Paparazzi’ Outside Rome Cafe

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      Mr. Depardieu, 75, was seen striking the 79-year-old photographer Rino Barillari on the Via Veneto.The French film star Gérard Depardieu repeatedly punched Rino Barillari, known as the “king of paparazzi,” on Tuesday at Harry’s Bar on the Via Veneto, the grand hotel and cafe-lined avenue that was a lively haunt for celebrity-hunting paparazzi decades ago, according to the photographer and a journalist who witnessed the altercation.It could have been a scene straight out of “La Dolce Vita,” Federico Fellini’s early 1960s film that introduced the character of an annoying and eccentric photographer who hounded the movie stars that swelled the casts of Cinecittà film studios when Rome was known as “Hollywood on the Tiber.”Seeing Mr. Depardieu, 75, and Mr. Barillari, 79, on the Via Veneto was like “a time machine,” said Gianni Riotta, a columnist for the newspaper La Repubblica who said he saw the attack while he was having coffee at Harry’s Bar.Mr. Riotta said that Mr. Barillari had repeatedly been asked to stop taking photographs, and that when he turned to leave he was followed into the street by a shouting woman who had been sitting with Mr. Depardieu. The actor reached the photographer “and hit him, hit him, hit him,” Mr. Riotta recalled, speaking in Italian.“There was a lot of blood,” he said.Mr. Riotta said he gave a witness statement to the police when they arrived on the scene. It was unclear whether Mr. Barillari, who was taken by ambulance to a downtown hospital, would press charges.Lawyers for Mr. Depardieu did not immediately respond to a request for comment.Delphine Meillet, a lawyer for the woman who had been sitting with Mr. Depardieu, Magda Vavrusova, said in a statement that Mr. Barillari had “violently pushed” her, touching her chest with his arm. She said that when Mr. Depardieu intervened, he had “fallen and slid onto” the photographer. Ms. Vavrusova was taken to a hospital and planned to sue Mr. Barillari, the lawyer said.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Music

      A Night to Remember at the Opera, Complete With a Phantom

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      In the pitch-dark auditorium of Rome’s Teatro Costanzi, a high-pitched lament floated from the top galleries. Dozens of flashlights snapped on, their beams crisscrossing crazily, seeking the source of the sound.The shafts of light homed in on a spectral figure — a slim, dark-haired woman dressed in white, moving at a funereal pace and plaintively singing. In the audience, 130-odd children, ages 8 to 10, let loose squeals, some gasps, and one “it’s not real.” Several called out “Emma, Emma.”The children had just been told that the Costanzi, the capital’s opera house, had a resident phantom. No, not that one. This was said to be the spirit of Emma Carelli, an Italian soprano who managed the theater a century ago, and loved it so much that she was loath to leave it, even in death.“The theater is a place where strange things happen, where what is impossible becomes possible,” Francesco Giambrone, the Costanzi’s general manager, told the children Saturday afternoon when they arrived to participate in a get-to-know-the-theater-sleepover.The children reading clues of a treasure hunt.Alessandro Penso for The New York TimesMusic education ranks as a low priority in Italy, the country that invented opera and gave the world some of its greatest composers. Many experts, including Mr. Giambrone, say their country has rested on its considerable laurels rather than cultivate a musical culture that encourages students to learn about their illustrious heritage.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Movies

      Paolo Taviani, Half of a Famed Italian Filmmaking Duo, Dies at 92

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      He and his brother Vittorio made films, including “Padre Padrone,” that mixed neorealism with a lyrical, almost magical sense of storytelling.Paolo Taviani, who with his brother Vittorio made some of Italy’s most acclaimed films of the last half century — including “Padre Padrone,” which won the top prize at the Cannes Film Festival in 1977 — died on Feb. 29 in Rome. He was 92.His son, Ermanno Taviani, said the cause of his death, in a hospital, was pulmonary edema.The Taviani brothers emerged in the late 1950s as part of a generation of Italian filmmakers — including Bernardo Bertolucci, Pier Paolo Pasolini and Gillo Pontecorvo — who were inspired by the country’s Neorealist movement but determined to push beyond it. (Vittorio Taviani died in 2018.)Though the brothers came from an urbane, intellectual family — their father was a lawyer, their mother a teacher — their work celebrated traditional life in the Italian countryside, where they were raised. “Padre Padrone,” for example, tells the story of a boy’s struggle between the demands of his overbearing father, who wants him to be a farmer, and his own dreams of becoming a linguist.The Taviani brothers’ “Padre Padrone” won the top prize at the Cannes Film Festival in 1977.Radiotelevisione Italiana, via Everett CollectionThey injected their films with a sense of spectacle that set them apart from the austerity of Neorealist predecessors like their idol, Roberto Rossellini, who in turn championed their work and, as the president of the Cannes jury in 1977, helped ensure that “Padre Padrone” won the festival’s coveted Palme D’or prize. It was a surprise victory in a field that included another Italian film, “A Special Day.”“Rossellini allowed us to understand our own experiences, to truly comprehend what we had lived,” Paolo Taviani told The International Herald Tribune in 1993. “To comprehend it in a way which would have been impossible had we not seen his films. And we felt that if film had this sort of power, we wanted to master film.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Music

      Kanye West Returns to the Stage With Travis Scott

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      The rapper, now known as Ye, had not performed live since a series of antisemitic comments last year led to rebukes in music and fashion.Ye, the rap star formerly known as Kanye West, on Monday made his first concert appearance after a series of antisemitic remarks on social media and in interviews last year, which led to his alienation from the music industry and loss of lucrative fashion deals with Adidas, Gap and Balenciaga.Ye’s return to the stage came as a guest during a livestreamed album-release concert by Travis Scott at Circus Maximus, the park in central Rome that in ancient times was the site of a giant stadium where chariot races and other entertainment took place.Scott, a protégé of Ye’s, brought his mentor out during a concert to celebrate his chart-topping new album, “Utopia.” With Scott dressed in white and Ye all in black — initially with a hood and mask, which didn’t stay on for long — they performed two Ye songs together: “Praise God,” from his 2021 album “Donda,” and “Can’t Tell Me Nothing,” a Kanye West classic from his 2007 album “Graduation.”“There is no ‘Utopia’ without Kanye West,” Scott told the crowd. “There is no Travis Scott without Kanye West. There is no Rome without Kanye West.”After years of erratic and controversial behavior, Ye finally crossed a line with the music and fashion industries last fall, after he showed up at Paris Fashion Week in a shirt that read “White Lives Matter,” and then tweeted that he would go “death con 3 On JEWISH PEOPLE.” That led to his expulsion from social media, his ejection from the Creative Artists Agency and the loss of his Yeezy brand sneaker and fashion design partnerships. The deal with Adidas had been especially valuable, contributing more than 10 percent of the $2 billion in profit that the company made in 2021.Despite widespread condemnations, Ye doubled down on his comments. Last December, he joined “Infowars,” the online talk show hosted by Alex Jones, the conspiracy theorist who has been ordered to pay nearly $1.5 billion for promulgating lies about the Sandy Hook school shooting in 2012. On that show, Ye said, “I love Jewish people, but I also love Nazis,” and “I do love Hitler.”Ye had largely kept a low profile since then, though last week Twitter restored Ye’s account. It had been suspended a day after the Infowars interview, with Elon Musk, the owner of Twitter — which has now been rebranded as X — saying that Ye had “violated our rule against incitement to violence.”Before the Rome appearance, Ye’s last concert was in Miami in February 2022, promoting his album “Donda 2.” More

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      in Movies

      Vatican Pledges to Look Into Emanuela Orlandi Disappearance

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      Vatican officials said they would reopen a cold case that has gripped Italians, spawned countless theories and been the subject of a Netflix documentary series.ROME — Four decades after the daughter of a Vatican employee vanished from a street in Rome while walking home from a music lesson, a case that has spawned endless theories by a transfixed Italian public is getting a fresh look, a prosecutor said Tuesday.The Vatican’s top prosecutor, Alessandro Diddi, said his office would try to “give answers” to the family of 15-year-old Emanuela Orlandi, who was last seen on June 22, 1983.Although Emanuela’s survivors have pressed the Vatican for years for information, the prosecutor’s sudden decision to look into one of Italy’s most famous cold cases took them by surprise.“You have to explain why the case was reopened now,” a lawyer for the family, Laura Sgro, said Tuesday. “We hope that the prosecutor’s will is effectively real and will come to something soon.”Her last filing on the case, Ms. Sgro noted, was 2019. Then in late 2021, she followed up with a letter written to Pope Francis telling the pontiff that new information had emerged that the family hoped to share with the Vatican.Francis urged her to contact the Vatican prosecutor “in the spirit of full cooperation,” but when she reached out to Mr. Diddi a year ago, she got no response, Ms. Sgro said.Over the decades, the family’s quest to discover what happened to the teenager has taken many tortuous twists. Reports have variously linked her fate to the Sicilian Mafia, Bulgarian agents, a notorious Roman crime gang and the assassination attempt on John Paul II, by way of an American archbishop involved in a major Italian banking scandal.Previous investigations led nowhere. One involved the exhumation of bones from a crypt in a church in Rome, and another a search for evidence in a Vatican cemetery, which the Vatican allowed.A photograph released by Vatican Media showing the opening of the ossuary at the Teutonic Cemetery in the Vatican as part of an inquiry into the case of Emanuela Orlandi in 2019.Vatican Media, via Agence France-Presse — Getty ImagesUntil this week, the Vatican has never formally investigated the case itself, saying that the disappearance took place on Italian soil. Mr. Diddi said that after becoming chief Vatican prosecutor three months ago, he began reviewing the requests made to it over the years by the Orlandi family. “We are putting in order all the things that have been presented to us,” he said.Though dozens of books and documentaries have focused on the case in Italy, it received greater exposure after the release on Netflix last October of a four-part series titled “Vatican Girl,” which explores the various theories that have emerged about her disappearance. The series also took the Vatican to task for not carrying out its own investigation and not doing more to help Italian authorities over the decades.“It was the first time the story was told internationally,” said Chiara Messineo, the producer of the series, and it engaged audiences with “the story of a family that lost a daughter and a sister, that is very much also the story of a small pawn caught up” in a global chessboard.Ms. Messineo, speaking from her home in London, said she believed the popularity of the series had increased the pressure on the Vatican “so that they had to do something.”An undated picture of Emanuela Orlandi.via Associated PressMs. Sgro, the lawyer, said a request made by lawmakers last month to establish a parliamentary commission of inquiry into the girl’s disappearance, along with two other cold cases, may have also prompted the Vatican to finally act.“There is evidence that the Vatican knows much more than it has let on,” Senator Carlo Calenda told reporters at a news conference at which the proposal was presented in December.The proposal for a parliamentary commission must be approved by both chambers of Parliament to get off the ground.“We are a great secular nation that treats the Vatican with respect,” Mr. Calenda said, “but certainly cannot consider this case closed in the way it’s been closed.”The Vatican, too, has an interest in solving the mystery of Emanuela’s fate, he said, because the truth “always comes out in the end.” More

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      in Television

      Simona Tabasco, ‘White Lotus’ Fan Favorite, on the Best Parts of Italy

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      The actress shares some of the places she loves the most, and the art that both inspires and disturbs her.The day Simona Tabasco got a callback for “The White Lotus” with the show’s creator, Mike White, she tested positive for Covid-19. So she auditioned over FaceTime and landed the part.A month later, she was on set in Sicily playing Lucia, one of the two local prostitutes — the other played by her real-life friend, Beatrice Grannò — who spend the television show’s second season charming and swindling Americans on vacation. By the time the season ended in December, the duo had become fan favorites, inspiring memes, think pieces, conspiracy theories and style tips.“I’ve never been part of a project of this magnitude, something that was so big and involves so many artists — people that, yes, are famous, but also such amazing artists,” Tabasco, 28, said in a video interview from Rome, where she plays an undercover police officer in the Italian TV series “I Bastardi di Pizzofalcone.”Speaking through a translator, the Neapolitan actress talked about why the city where “The White Lotus” was shot is so meaningful to her — as well as some of the other places she loves in Italy — and the horror movie she couldn’t stop thinking about even though it annoyed her. These are edited excerpts from the conversation.1. Taormina It’s where we filmed “The White Lotus,” and it’s where I received an award for best young actor after my first film, “Perez,” at the film award ceremony Nastro d’Argento. One of the local cafes, Bam Bar, is known for its granita. My favorite flavor is almond. It became a tradition for Beatrice and me to have breakfast there together on days we didn’t have to wake up too early. Every time we went, we saw someone from the “White Lotus” cast or crew.Inside the World of ‘The White Lotus’The second season of “The White Lotus,” Mike White’s incisive satire of privilege set in a luxury resort, is available to stream on HBO.End of a Journey: The actress Jennifer Coolidge discussed the ending of the second season and where the series, already renewed for a third season, might go from here.Dressing Gen Z: The costume designer for “The White Lotus” sees your mean tweets about how the younger characters dress. She told us how she created the chaotic and divisive looks.Michael Imperioli: The “Sopranos” star is enjoying a professional renaissance after years of procedurals and indies. In the new season of “The White Lotus,” he tries his hand at comedy.F. Murray Abraham: The buzzy series is one of several featuring the actor, who at 83 is finding some of the most satisfying work of his career.2. Nuovo Cinema Olimpia This theater in central Rome is special for me. It has only two rooms, and it’s not like the other cinemas in the city. There are usually very few people, and it’s where I like to have movie marathons. I’ve spent hours in there watching films. Sometimes I just need to binge on movies, and for me, this is the perfect place to do it. Right after, I like to drink a beer and talk about what I’ve just seen with friends. It can sound a little boring, but I have so much fun during these kinds of days.3. Monti I used to live in this neighborhood with classmates way back when I was in acting school. Known as the artists’ quarters, it’s a beautiful area. It’s small, and it kind of gives you the feel of being in a little village, which is rare for such a big city like Rome. It’s also filled with vintage clothing stores, which I started going to because of auditions. My favorite vintage shop is called King Size.4. “Titane” I love this movie, which is a horror/sci-fi mix, because it disturbs me. It’s a film that annoys me. I went to see it and then I had to go see it again. I thought about it for days. And I think that’s how art should be — I love when art is that way. It’s something that you encounter by chance, or not, and then it changes your day or your life.5. Tate Modern Five years ago, I was staying in London for a month to enjoy the city and practice English, and I think I went every day for seven days. The first time I went in, I had this sense of shock because it looked like such a big empty space. I would go and listen to this tower of radios, Cildo Meireles’s “Babel,” and I was totally blown away. I’m not sure what the artist wanted to say, but that’s also the beauty of art. Maybe the artist had one idea and whoever witnesses an installation like that then has a different reaction.6. Kintsugi My favorite thing about visiting Japan in 2017 was seeing the art of kintsugi, which is their practice of putting back together broken things with gold and varnish. They turn something that seems like it no longer has purpose into something extremely beautiful through the act of repairing it. It’s a very powerful symbol of resilience.7. “Lo Potevo Fare Anch’io” by Francesco Bonami The title of the book translates to “I could have done it too,” which the author wrote because he wanted to bring people closer to and push people farther away from contemporary art, which I think is very provocative. One of the artists mentioned in the book is Robert Ryman, who creates these paintings and sculptures using only white paint, which is something that gives you the impression of being incredibly simple when you first think about it, but then you realize that it’s impossible to replicate. It tells you that art can be — and most of the time is — simple.8. Sziget Festival I went when I was 24. I wanted to see Budapest, because I think it’s a great European city to visit and to live in. During the day, I would explore local neighborhoods and in the evening, I would go to the festival. The setting is so crazy; it’s this island off Budapest with 60 different stages. It becomes difficult to see everything that you want to but attending is one of my favorite memories. I love music. One of my dreams is to go to Burning Man; it’s on my list.9. Naples I probably have a better relationship with Rome because it’s where I’ve built a life, but the thing I love about Naples is the state of mind that it puts me in. It reminds me of my family, of my childhood. Most of what I am and how I grew up — my mannerisms, the way I talk, the way I move — most of it comes from there. It’s something that I try to bring with me whenever I’m on set because it’s such a big part of who I am.10. “Je So’ Pazzo” You could classify Pino Daniele’s music as blues, but what we say in Naples is just that it’s “Pino’s music,” because it’s its own thing. He was so incredible because of his technical talent but also because of the way he used his music to express a moment in time in Italy, specifically in Naples. This song talks about Masaniello, a kind of spokesman of the Neapolitan people. It literally translates to “I’m crazy.” More

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      in Movies

      ‘Love & Gelato’ Review: A Young Girl, Transfigured by Italy

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      A mother’s final wish leads her daughter to retrace her Roman holiday in this lighthearted coming-of-age story.For many American teenagers, college is the great undiscovered country. But in the romantic comedy, “Love & Gelato,” Lina (Susanna Skaggs) has just lost her beloved mother to cancer. Before she matriculates to her first year of university at the Massachusetts Institute of Technology, she is obligated to live out her mother’s final wish for her. Her mother had a transformative trip to Italy in her youth, and her request is that Lina should follow in her footsteps. Cautious Lina can find a way to worry about anything, but magnanimously, she agrees to spend her summer in Rome.Lina inevitably finds herself moved by the beauty of the city — its food, its vistas and most of all, its prettily entreating boys. She becomes infatuated with Alessandro (Saul Nanni), a blue-eyed social butterfly bound for a Boston fall. And lest Alessandro prove too good to be true, a warm and welcoming chef, Lorenzo (Tobia De Angelis), takes an interest in her fish-out-of-water charms. With her mother’s old friends and Lorenzo as her guides, Lina finds purpose in Italy, even daring to search for her Italian father, the man her mother left behind.This is a story where the characters woo each other with artless naïveté, and the movie is shot in a similarly unassuming fashion. The writer and director Brandon Camp opts for a cheerily overlit, comedic tone. It’s the kind of film that is more interested in the appeal of a good Italian accent than it is in finding novel, or even particularly beautiful, ways to shoot and see Rome. The conscious callowness is agreeable, but it lacks freshness, like a midnight pasta reheated in the microwave.Love & GelatoNot rated. Running time: 1 hour 50 minutes. Watch on Netflix. More

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      in Movies

      Renato Casaro’s Posters Capture Films’ Essential Moments

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      Renato Casaro’s hand-drawn art has hooked movie audiences around the world since the 1950s. Tarantino and Stallone are big fans. One secret to his success? “You can’t cheat.”TREVISO, Italy — Renato Casaro was taking a trip down memory lane, a long journey in a career that extends from the 1950s, when Rome was known as Hollywood on the Tiber, to the last decade when Quentin Tarantino asked for his help on the 2019 film “Once Upon a Time … in Hollywood.”“I constantly adapted,” said Mr. Casaro, who is a few days short of his 86th birthday. “That’s why I kept working when others stopped.”Over more than six decades, his hand-drawn movie posters have hooked audiences into theaters, acting as abridged portends of the delights to come.“The important thing was to capture the essential: that moment, that glance, that attitude, that movement that says everything and condenses the entire story. That’s the hard part,” Mr. Casaro said, adding an admonishment: “You can’t cheat. You can’t promise something that isn’t there.”The essential might translate into the tender embrace he depicted on the poster for a 1955 Russian ballet version of “Romeo and Juliet.” Or it could be a terrified eye lit by a candle for the 1969 thriller “The Haunted House of Horror.” Or maybe an impossibly brawny Arnold Schwarzenegger brandishing a sword as “Conan the Barbarian” in 1982.Although his art has been seen by untold millions, Mr. Casaro himself is mostly invisible, his work largely uncredited (save for his neatly printed signature discreetly tucked in a margin). He is known primarily to collectors, and to the many producers and directors who sought him out to plug their pictures.The Santa Caterina complex in Treviso, one of the venues for the exhibition of Mr. Casaro’s work.Alessandro Grassani for The New York Times“It’s a bit of a sore spot,” Mr. Casaro said during a recent interview in Treviso, the northeastern Italian city where he was born and where he returned to live a few years ago. As far as he knew, he said, he’d been credited in the end titles just once, in 1984, by Sergio Leone for his work on “Once Upon a Time in America.”But now Mr. Casaro is getting his moment in the limelight as Treviso celebrates his art through an ambitious retrospective: “Renato Casaro. Cinema’s Last Poster Designer. Treviso, Rome, Hollywood.”“We’re very proud to celebrate the maestro who gave emotions to so many people,” said Treviso’s mayor, Mario Conte. Many of Mr. Casaro’s posters had become icons, “forever lodged in our memories,” he said.The show’s title traces the trajectory of Mr. Casaro’s career — from crafting movie posters as a teenager in exchange for free tickets to Treviso’s Garibaldi Theater, to the days when extravagant sword-and-sandal films set in ancient Rome were shot in the modern Italian capital, to his brushes with A-list Hollywood actors.Mr. Casaro said he’d been “born with a paintbrush in my hand,” a natural talent who got better “with a lot of experience.”He moved to Rome in 1954, just as it was becoming a favorite of international filmmakers, who took advantage of the city for its unparalleled setting, the production expertise at Cinecittà Studios and the allure of rising local stars like Sophia Loren.He found work at a well-known advertising design studio specializing in movie posters.Mr. Casaro, who is about to turn 86, working in his studio this month in Treviso.Alessandro Grassani for The New York Times“You learn on the job,” said Mr. Casaro, who eventually went out on his own. “You have to be able to draw everything, from a portrait to a horse to a lion.”It really was la dolce vita, he recalled.“We’d come out of the trauma of the war, and Rome was full of life,” he said, with movie stars and tourists swelling the swanky restaurants of Via Veneto. He was out of that league, but he tried to sneak into the hottest places.“We lived on the margins, but come on, it was marvelous to be young and go to Rome and discover this world,” he said in the deconsecrated church of Santa Margherita, one of the venues for his exhibition. His mother, he noted, was less thrilled with his vocation and location. Growing up in provincial Treviso, Rome might as well have been on another planet. “She thought Rome was the city of perdition,” he said. “She cried, she fretted, ‘I’ve lost my son.’”In Rome, he worked constantly. Roberto Festi, the curator of the exhibition, estimated that during this first phase of his career, he was making about 100 posters a year.To better understand the mood of a film, Mr. Casaro often went on the set. Sergio Leone wanted him in New York to witness a key moment in “Once Upon a Time in America.”“They were filming the scene where the youngest boy gets killed,” Mr. Casaro recalled, an image that eventually evolved into the movie poster. “It was stunning, and the highlight of the first part of the film.”At the exhibition in Treviso. Conan and Bond were among Mr. Casaro’s subjects. Alessandro Grassani for The New York TimesThe turning point in his career, which brought attention outside Italy, came when Dino De Laurentiis hired him to make the poster for the 1966 blockbuster “The Bible: In the Beginning…” It was the start of a long-lasting collaboration with Mr. De Laurentiis, and the friendship helped put him in Hollywood’s sights.Mr. Casaro drew the posters for the Conan trilogy, breakthrough films for Mr. Schwarzenegger, who in 1982 was known mostly as a bodybuilder. For the first film, Mr. De Laurentiis, one of the producers, told Mr. Casaro to focus on the actor’s face, not just his muscles. “Dino wanted to launch him,” Mr. Casaro said. “He knew that Schwarzenegger would explode as an actor.”Another big star of the day, Sylvester Stallone, loved how Mr. Casaro had depicted him in his role as the troubled Vietnam vet Rambo. “Stallone said that I had entered into his soul,” Mr. Casaro said.Mr. Casaro’s early style, which he described as “impressionistic,” became increasingly realistic in the 1980s when he began using an airbrush. That made his technique more photographic but also “more magical,” he said.A poster for Rambo III. Mr. Casaro said Sylvester Stallone told him he had “entered into his soul.”Alessandro Grassani for The New York Times“When he began working in hyper-realism, that was the big change,” said Nicoletta Pacini, the head of posters and movie memorabilia at Italy’s National Museum of Cinema. “That was pure Casaro, and others began to copy him.”The artist isn’t sure how many movie posters he created in total but estimates it’s close to 2,000.“He always understood the spirit of the film” creating images that were “special and distinctive,” said Carlo Verdone, one of Italy’s most famous comedic actors and directors who hired Mr. Casaro to make posters for several films. Mr. Casaro stopped making posters in 1998, when the taste for hand-drawn images had waned in favor of digital and photoshopped renderings. Not for him, he said.He shifted his focus to African wildlife drawings — and elaborate re-workings of famous Renaissance paintings populated with movie stars.In a reimagining of Michelangelo’s “Last Judgment,” Marilyn Monroe holds court. “She’s always been the ultimate myth for me,” Mr. Casaro said. “With all her weaknesses, she still represents a special moment in the history of cinema.”Mr. Casaro showing a drawing of Marilyn Monroe. “With all her weaknesses, she still represents a special moment in the history of cinema,” he said of her.Alessandro Grassani for The New York TimesThen, out of the blue, Mr. Tarantino called, asking for posters in a vintage spaghetti-western style for “Once Upon a Time … in Hollywood,” the director’s love letter to 1960s Los Angeles.He designed two posters featuring Leonardo DiCaprio, who plays an on-the-way-out actor who goes to Italy to make spaghetti westerns and revive his career. One of the posters is for a fictional film called “Kill Me Now Ringo, Said the Gringo.”“Those films always had incredible titles,” Mr. Casaro laughed.Mr. Tarantino sent him a signed photo of Mr. DiCaprio posing for the poster with a message that reads: “Thanks so much for your art gracing my picture. You’ve always been my favorite.”For Mr. Casaro’s admirers, the Treviso exhibition is long overdue.“The history of art has tended to marginalize posters because they were conceived for the masses, and the illustrators were seen more as craftsmen,” said Walter Bencini, who made a documentary about Mr. Casaro. “But movie posters can be popular art in the true sense of the word, because they’re part of the collective imagination but also evoke so many personal feelings tied to specific moments.”The feelings evoked in his poster for “The Sheltering Sky,” lushly filmed by Bernardo Bertolucci in 1990, make it one of Mr. Casaro’s personal favorites. “It captures the mystery,” he said, “the notion of immersing oneself in the desert.”If movies are primarily about entertainment, then Mr. Casaro’s summary of his career is apt.“I had fun,” he said. “A lot of fun.”Mr. Casaro in his studio. “I constantly adapted,” he said of his long career.Alessandro Grassani for The New York Times More