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.
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 »
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,
Nuovamente nei panni del suo alter-ego Michele Apicella, Nanni Moretti scrive la sua commedia apparentemente più ilare ma anche surreale ed inquietante. Il regista Michele, ancora sulla ... See full synopsis »
Piera Degli Esposti,
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 inconsolable 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)
It takes a certain amount of cheek to write, direct and star in your own
films and Nanni Moretti's earlier work, 'Carao Diaro', was certainly
eccentric, as he played himself as an annoying and socially limited loner.
In 'The Son's Room', he proves he can act a role, in a more orthodox
portrait of a family struggling to come to terms with the death of their
son. The portrait of inter-generational relationships seems over-idealised
(and how many teenagers are into Brian Eno?), but the real strength of this
film is its sense of inicidentality. Instead of playing as straight
melodrama, we see the family trying to continue with their lives, and in
particular Moretti's character, a psychotherapist, interacting with his
patients. The importance attached to the chance juxtaposition of events is
reminiscent of Kieslowski, as is some of the dialogue: stylised but
profound, even (or even because) its relationship to the main events is
oblique: the whole carries meaning precisely because the individual parts
are not overloaded, everything is potentially symbolic but nothing is
forced. At the end of the day you believe in these characters; as a result,
their tragedy rings with truth.
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