The film world has lost a poet. Bernardo Bertolucci has died. Equal parts sensualist, political animal and historian, his films frequently courted controversy but he was a true man of the twentieth century – engaged and enraged since his earliest days as Pasolini’s assistant, a romantic visionary in his own right, a Marxist, a dramatist making the cinematic link between eroticism and fascism. If The Conformist is the perfect statement about modern man’s detached disposition, it is an extraordinary analysis of abstract style made by a filmmaker of grave passions. While Last Tango in Paris is a sorrowful inquisition into the behaviour of a grieving misogynist, The Last Emperor brought people to the cinema who only go once a decade: a work of staggering beauty, made with regular collaborator, cinematographer Vittorio Storaro, with unprecedented footage of The Forbidden City telling the compelling story of a simple man adrift in a world of complexity. 1900 is a sympathetic portrait of Italy reawakening from its slumbers; while The Dreamers is a bittersweet account of the 1968 generation and the sexual awakening of adolescents discovering their political place in a world of tumult. Farewell to one of the greats. Addio a un maestro.