Nanni Moretti directs himself playing himself in this wry look at life. Presented in three chapters, Moretti uses the experiences of traveling on his motor-scooter, cruising with his friend... See full summary »
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.
Because of an accident, Michele (a leader of P.C.I. and a water-polo player) loses his memory. During one water-polo match, strange guys torment him; they want him to remember his past. As ... See full summary »
Don Giulio, giovane prete romano, ritorna a casa dopo essere stato parroco in un'isola del Mar Tirreno ed è destinato ad una chiesa di periferia. A Roma egli ritrova i genitori, la sorella ... See full summary »
Ferruccio De Ceresa
Michele is a mathematics professor who just started a new job in a school with some peculiar teaching methods. After a woman in his neighborhood is murdered, Michele meets beautiful ... See full summary »
Giovanni is a successful psychoanalyst who has to put up with the seemingly endless string of trivial details his patients ramble on about. Yet his family provides a loving and steadfast foundation for his life that can even survive a problem like their son, Andrea, being accused of stealing a rare fossil in school. That foundation is profoundly rocked when Andrea dies in a scuba diving accident. Although the usual arrangements run smoothly, the emotional harm is profound. Giovanni begins to obsessively dwell on the missed chances he had with his son that might have saved his life, even blaming his patients. In addition , his wife is inconsulable and his daughter is becoming anti social in their loss. In the midst of this turmoil, a secret of their son's life is revealed that provides healing in a way they never anticipated. Written by
Kenneth Chisholm <firstname.lastname@example.org>
Moretti becomes more mature, more intimate, more personal. While playing an increasing role in Italian politics (with his movement of opposition to the right-wing government), in his films he has abandoned the sharp political criticism of his debut (Ecce Bombo, Io sono un Autarchico), and the cynical and funny social observations of "Bianca," "Palombella Rossa," and "Caro Diario" to give us a compelling portrait of grief.
A noticeable thing about this film is that the stupidity and ignorance of the MPAA gave it an R rating. Apparently, according to the MPAA, teenagers are welcome to see the stupid violence of "Independence Day," or the idiotic cardboard characters of "Spider Man" (both rated PG-13), but should not, except under adult supervision, know that the death of a teenage child is a shocking and traumatizing experience for a family, and could shatter their painfully constructed unity.
The decision of the MPAA provoked outrage in Italy and surprise in Europe. It is amazing that people of such obvious ignorance should be allowed to make such crucial decisions: they should be held responsible for the garbage they feed to teenagers, and for keeping them away from meaningful films.
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