Daniele Luchetti directly stages the existence at times typical of Claudio, but thanks to some subtle and specific touches gives us back one of the truest and most intense portraits of a society and of a man who ultimately create a Life.
The movie immediately assumes a very direct vision in showing the passage of time and events, which for many will surely prove slow and heavy, as well as apparently unoriginal.
Instead, the director's careful approach to revealing everyday situations in such a simple and strong way, albeit stained by tragedy, amply highlights the more introspective aspect of the characters' feelings, not at all emphasized in a cinematically artificial way.
From here Lucchetti also stages a not so indifferent look at the working situation of a country where, as often emphasized by the characters, the thing that matters most is money, both as a source of livelihood but above all as one to get more and more, adding to this the emblematic theme of immigration and illegal foreign workers.
Elio Germano once again shows the inimitable naturalness with which he manages to give real completeness to Claudio, a man whose every side and feeling we look at 100%, in his not at so obvious way of facing, before and after the loss of Elena, his own existence, by "eluding" with more or less legitimate means the overwhelming complications that do not prevent him from building a personal and social context in the most solid way, exposing his character halfway between determination and suffering in a much deeper and variegated way than it may seem.
This remains a very intriguing picture that touches the most social and personal levels to demonstrate the many faces of the exploitation of one's means, human or otherwise, and the sense of proceeding with your life despite everything and in the most complicated but rightful way.
The movie immediately assumes a very direct vision in showing the passage of time and events, which for many will surely prove slow and heavy, as well as apparently unoriginal.
Instead, the director's careful approach to revealing everyday situations in such a simple and strong way, albeit stained by tragedy, amply highlights the more introspective aspect of the characters' feelings, not at all emphasized in a cinematically artificial way.
From here Lucchetti also stages a not so indifferent look at the working situation of a country where, as often emphasized by the characters, the thing that matters most is money, both as a source of livelihood but above all as one to get more and more, adding to this the emblematic theme of immigration and illegal foreign workers.
Elio Germano once again shows the inimitable naturalness with which he manages to give real completeness to Claudio, a man whose every side and feeling we look at 100%, in his not at so obvious way of facing, before and after the loss of Elena, his own existence, by "eluding" with more or less legitimate means the overwhelming complications that do not prevent him from building a personal and social context in the most solid way, exposing his character halfway between determination and suffering in a much deeper and variegated way than it may seem.
This remains a very intriguing picture that touches the most social and personal levels to demonstrate the many faces of the exploitation of one's means, human or otherwise, and the sense of proceeding with your life despite everything and in the most complicated but rightful way.