As films come out, yes, but sometimes too fast to keep up, let’s keep three Italian works in theaters, tales of heroic and inferior (or a little more) disappointment, united by a stubborn desire to publicize this country in crisis and even a villain: Very quiet Nicola Prosatore, Erri mixing Sidney Sibilia Last night of love Andrea Di Stefano, with a significant capital letter in the title indicating the protagonist’s last name, Pierfrancesco Favino.
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Three beautifully intense and generous stories, without cynicism and also without discounts. IN Very quiet it is the little girl Anna (Dominche Donnarumma, pictured above with Massimiliano Caiazzo) who dominates the game in the disastrous Capodichino area, which in 1989, when Maradona triumphs, is about to be planned in favor of a flyover. With his tenacious mother, very good Antonia Truppo inspirational story, Anna lives in a huge courtyard, something like her castle, the place of discovery of the criminal world, but also the first impulses of love. A story photographed with the right coverage of marginality and pride, the love of a mother and a teenager who grows up in weeds but perhaps survives. Breathtaking.
Coincidences: in the same Naples of the late eighties, history Erri mixing, a brilliant film about the true story of the Frattario brothers, who founded a small criminal empire with pirated cassettes. Italian epic. Swift, adventurous, affectionate and slightly immoral, Sydney Sibilia’s film surprises with a story unknown to most, told in the book of the same name by Simone Frasca.
Francis DiLeva he is the inspector who gives no respite to Fratario: we will find him again, still in the branch but with a few more shadows, far to the north, in the exhilarating Last night of love. Here is Pierfrancesco Favino, a thousand nuances in seeming stagnation, a police lieutenant plunging into the nightmare of the ill-fated night, the last one in service before retirement, thanks to his friend and colleague Di Leva. It takes desperate clarity to get out of a thriller jam with minutes on the clock and with the suspicion of colleagues and ticks of Asian traffickers.
The night grain of the film is palpable on film, the shots from the helicopter are exciting, because it is not a drone, Milan is empty and indifferent, dark, as if a mournful veil has fallen on it. Luckily, Franco Amore’s wife will be the most ruthless in protecting her and Linda Caridi’s future. lends the role an anthology character of “accidental crime”.
Source: Elle
