The great quality of the film is the interweaving of several dramatic arcs: a director has to deal with his film and its actors, but also with his wife, who is a producer, and her relationship, which is in question; his daughter, who introduces her lover, the director of the film his wife is producing, a film in a very different style to his own. And finally, he has to deal with his producers, from the French Mathieu Amalric to the Koreans, including a hilarious sequence involving Netflix producers.
The director is, of course, played by Nanni Moretti, in every scene. This can be irritating, but it works, because Nanni Moretti intersperses his film with visual excesses: the scooter ride for location scouting, the dance choreography where the film suddenly shifts into a musical.
All in all, the film is a Moretti show revolving around his obsessions, with the charm of the interweaving of these different stories that gravitate around him. Those who love him will swoon, those who hate him 100%.
The director is, of course, played by Nanni Moretti, in every scene. This can be irritating, but it works, because Nanni Moretti intersperses his film with visual excesses: the scooter ride for location scouting, the dance choreography where the film suddenly shifts into a musical.
All in all, the film is a Moretti show revolving around his obsessions, with the charm of the interweaving of these different stories that gravitate around him. Those who love him will swoon, those who hate him 100%.