Technically, no. The film is still under copyright (likely held by 20th Century Fox or its successor, Disney). Uploading the full movie without a license is a copyright violation. However, for many film scholars and curious viewers, Ok.ru serves as a "grey area" library for abandoned films that no legal service offers.

If you search for "la luna 1979 movie ok.ru", you will likely find:

Warning: As with any unofficial streaming site, Ok.ru is known for pop-under ads and occasional malware risks. Ensure you have an ad-blocker and a VPN if you choose to explore this route.

In the vast landscape of cult cinema, few films have sparked as much visceral controversy and artistic reverence as Bernardo Bertolucci’s "La Luna" (1979). Decades after its release, this psychosexual drama remains a haunting exploration of grief, codependency, and taboo. For modern cinephiles hunting for rare gems, the search often leads to a single question: Can I watch "La Luna 1979 movie on Ok.ru?"

The answer is complex, tangled in copyright laws and the platform’s shifting library. But before we discuss the availability of this rare cut on Ok.ru (the Russian social network famous for hosting hard-to-find films), let us explore why this movie remains a vital, if uncomfortable, piece of Italian cinema.

Bernardo Bertolucci’s La Luna (1979) is cinema’s most audacious and uncomfortable exploration of grief, heroin addiction, and the incestuous shadow that can fall over a mother-son bond. Arriving between the epic political statement of 1900 (1976) and the lush Orientalism of The Last Emperor (1987), La Luna is often dismissed as a "minor" Bertolucci film—a scandalous, hysterical melodrama. Yet to dismiss it is to ignore its raw, operatic power. The film is not a realistic portrait of family dysfunction but a Baroque, theatrical exorcism of bourgeois malaise, using the sun-drenched yet alienating landscapes of Ferrara and Rome to stage a primal drama of attachment and separation.

The plot centers on Caterina Silvestri (Jill Clayburgh, in a fearless, tear-stained performance) and her fifteen-year-old son, Joe (Matthew Barry). After the sudden death of her husband—an opera singer—Caterina moves with Joe from New York to Italy. Adrift in a foreign country and trapped in a sterile, loveless affair with her husband’s former colleague (Tomás Milián), Caterina fails to notice Joe’s spiral into heroin addiction. The film’s shocking narrative core is her misguided attempt to "save" him: she seduces her own son, believing that physical intimacy is the only language he will understand.

Bertolucci frames this transgression not as pornography or exploitation, but as a tragic opera. The film’s title, La Luna (The Moon), is key. In Italian folklore and poetic tradition, the moon is associated with madness, nocturnal impulses, and the cyclical, uncontrollable pull of the tides—much like the irrational bond between mother and child. The film’s visual style, shot by the legendary cinematographer Vittorio Storaro, bathes the characters in chiaroscuro shadows and artificial, almost psychedelic colors. The incest scene does not occur in a naturalistic bedroom but in a dark, anonymous apartment, with the mother’s face lit like a madonna in a Caravaggio painting. The artifice is intentional: Bertolucci is not asking us to accept this as real behavior but to recognize it as a metaphor for the cannibalistic love that occurs when grief erases all boundaries.

The film’s true protagonist, however, might be the very idea of performance. Joe’s father was an opera singer, and the film is punctuated by arias from Verdi and Donizetti. Opera, with its heightened emotions, impossible passions, and stylized violence, is the film’s moral compass. Caterina’s final act of redemption is not the incest but the journey to find Joe’s biological father, a humble piano player (Roberto Benigni, in a shockingly gentle role), and to return Joe to a masculine, non-incestuous lineage. The famous final shot—Joe singing a pure, clear aria on stage, while Caterina watches from the shadows, finally accepting her role as spectator rather than participant in his life—is Bertolucci’s thesis statement. Healthy love requires separation, a space where the moon’s pull is resisted.

Critics in 1979 were divided. Roger Ebert called it “a fever dream that doesn’t earn its passions,” while others praised its courage. The film’s weakness is its pace; the middle section, featuring Joe’s withdrawal and Caterina’s affair with a drug dealer (a pre-stardom Jennifer Beals in a cameo), meanders. Furthermore, modern viewers may find Jill Clayburgh’s hysterical performance grating, a relic of a pre-ironic era of Method acting. But these flaws are inseparable from the film’s raw nerve. La Luna is not a comfortable masterpiece; it is a beautiful, broken howl.

In conclusion, La Luna endures because it dares to ask an unaskable question: What happens when a mother refuses to let go? Bertolucci’s answer is both terrifying and compassionate. Caterina is not a monster but a woman destroyed by an excess of love, a love that, without the sun’s rational light, becomes a dark, lunar force. The film ultimately argues that art—the opera, the staged performance—is the only civilized container for such chaos. To watch La Luna is to sit in the dark theater, wincing and weeping, until the final note is sung, and the curtain mercifully falls.

Bernardo Bertolucci’s 1979 film La Luna is a polarizing, operatic exploration of Freudian themes and complex family dynamics following a famous American soprano and her son. The film is noted for its visual style, controversial subject matter, and the critical acclaim for Jill Clayburgh's performance. For viewing options, you can find user-uploaded versions of La Luna on OK.RU.

Bernardo Bertolucci's 1979 drama La Luna is available on OK.RU in various versions, often with English subtitles, featuring a plot centered on an opera singer's controversial attempts to save her addicted son in Italy. While the film received mixed critical reception due to its taboo themes, Jill Clayburgh's performance garnered a Golden Globe nomination. For more details and to watch the film, visit OK.RU.

La Luna is a 1979 Italian drama film directed by Bernardo Bertolucci. The movie stars Jane March, David Warbeck, and Maria Cristina Rubini.

The film revolves around a young woman named Corinna (played by Jane March), who becomes involved in a complicated relationship with her father, Giuseppe (played by David Warbeck), and a young boy named Massimo (played by Mario Monicelli, but listed as Massimo, likely a confusion with Marco Leonardi or another child actor, or simply an error).

The plot of La Luna explores themes of family dynamics, identity, and coming-of-age. Corinna's relationship with her father is particularly central to the story, as it navigates issues of intimacy, boundaries, and understanding.

La Luna was critically acclaimed for its artistic and emotional depth, as well as its exploration of complex human relationships. The film received several awards and nominations, including the prestigious Palme d'Or at the 1979 Cannes Film Festival.

The movie has been noted for its visually stunning cinematography and its thought-provoking narrative, which challenges viewers to reflect on the intricacies of human connections.

Would you like to know more about the movie or is there something specific you're interested in?