Nanni Moretti takes a comic look at the ebbs and flows of his life as he becomes a father for the first time. He struggles with distractions while trying to make a documentary of the Italian national elections.

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Cast

Cast overview, first billed only:
...
Himself
...
Himself
Silvia Nono ...
Herself
Pietro Moretti ...
Himself
Agata Apicella Moretti ...
Herself
Nuria Schoenberg ...
Herself
Silvia Bonucci ...
Herself
Quentin de Fouchécour ...
Himself (as Quentin de Fouchecour)
...
Himself
Claudio Francia ...
Himself
Jacopo Francia ...
Himself
Matilde Francia ...
Herself
...
Himself
Giovanna Nicolai ...
Herself
Nicola Piepoli ...
Himself
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Storyline

Nanni, a renowned director, is working on a musical when suddenly he has a change of heart and cancels the film on the first shooting day. He has a new idea, making a documentary about the Italian national elections, but work isn't going very fast, much to the frustration of the crew. Nanni can't stop thinking, worrying and getting excited about the birth and early days of life of his newborn son, yet is torn by his sense of obligation to make the documentary.

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Biography | Comedy

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Release Date:

27 March 1998 (Italy)  »

Also Known As:

Abril  »

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1.66 : 1
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References Dead Man Walking (1995) See more »

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Why Wait
Composed & Performed by Dámaso Pérez Prado (as Perez Prado)
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User Reviews

 
Improves with age
11 March 2006 | by (Paris, France) – See all my reviews

Whether mine or the movie's I'm not sure. In any case, when I saw this movie in Buenos Aires on its theatrical release, I was kind of disappointed. I'd seen _Caro Diario_ just a little earlier and thought that _Aprile_ lacked the freshness of the earlier movie. Plus, I found the stuff about Berlusconi and the elections kind of boring.

But after having seen most of Moretti's other movies, I took another look at _Aprile_ and realized that it's a wise and moving--if occasionally annoying--piece of work, after all. Certainly no less an achievement than _Caro Diario_ or _The Son's Room_. And if, like me, you've seen other Moretti movies, you realize that things that might seem incoherent on first viewing, such as musicals about dancing pastry chefs, are in fact long-time obsessions.

In his movies, Moretti's character is always surrounded by people: fellow leftists, old friends, family, parishioners, patients, and so on. But despite all these social ties, there's also a basic solitude that Moretti explores in his movies. I think that's why I like them.

Oh, and one more thing: he always makes Italy look gorgeous.


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