Bernardo Bertolucci’s first true masterpiece is the work of a director totally in charge of his medium. The Conformist tells the story of a damaged soul (Jean-Louis Trintignant) whose psychosexual angst translates into political overcompensation and emotional stasis. The protagonist’s quest for “normalcy” is initially set—narratively and visually—within the architecture of Fascism. Vittorio Storaro’s initially precise, harsh lighting of vast interior spaces and stylized Roman apartments opens up and acquires a more vivid color scheme as the main character encounters Paris and the possibility of freedom. Dominique Sanda and Stefania Sandrelli give memorable performances, including a riveting tango scene. Based on the novel by Alberto Moravia. 

"This is the first film where I controlled the lighting myself in the old, truly professional classical sense. Most of the young directors reject lighting as something cheap or kitsch; but on this film I really came to understand what you can do with light. You can get unbelievable effects which help the psychology, the narrative, the whole language of the film. When Sandrelli and Marcello see each other for the first time, there are those shuttered windows that refract the light, rays that pass. It helps a lot to establish the atmosphere of the house." - Bernardo Bertolucci