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Directed by | |||
| Daniele Luchetti | |||
Writing credits | ||
| Antonio Pennacchi | (novel "Il Fasciocomunista") | |
| Daniele Luchetti | story and screenplay | |
| Sandro Petraglia | story and screenplay | |
| Stefano Rulli | story and screenplay | |
Original Music by | |||
| Franco Piersanti | |||
Cinematography by | |||
| Claudio Collepiccolo | |||
Film Editing by | |||
| Mirco Garrone | |||
Casting by | |||
| Gianni Costantino | |||
Production Design by | |||
| Francesco Frigeri | |||
Costume Design by | |||
| Maria Rita Barbera | |||
Makeup Department | |||
| Francesco Pegoretti | .... | key hair stylist | |
Production Management | |||
| Paolo Venditti | .... | unit production manager | |
Second Unit Director or Assistant Director | |||
| Michele Corona | .... | second assistant director | |
| Gianni Costantino | .... | first assistant director | |
| Gianluca Mizzi | .... | second assistant director | |
Art Department | |||
| Roberto Benetti | .... | leadman | |
Sound Department | |||
| Gianluca Basili | .... | sound effects editor | |
| Sergio Basili | .... | foley artist | |
| Daniela Bassani | .... | sound editor | |
| Francesco Cucinelli | .... | sound re-recording mixer | |
| Davide Palmiotto | .... | ProTools operator | |
| Davide Palmiotto | .... | sound assistant | |
| Bruno Pupparo | .... | sound | |
Special Effects by | |||
| Luca Ricci | .... | special effects technician | |
Visual Effects by | |||
| Stefano Camberini | .... | digital mastering editor | |
| Fabrizio Cucinotta | .... | recording operator | |
| Simone Fontana | .... | digital mastering editor | |
| Cosatti Francesco | .... | roto artist: Proxima | |
| Fabio Luongo | .... | lead compositor | |
Stunts | |||
| Alessandro Borgese | .... | stunt coordinator | |
| Alessandro Borgese | .... | stunt performer | |
| Alessandro Novelli | .... | stunts | |
Camera and Electrical Department | |||
| Simone Barbona | .... | grip | |
| Ernesto Busillo | .... | video assist operator | |
| Fabrizio Cucinotta | .... | electrician | |
| Claudio Gallicchio | .... | electrician | |
| Patrizio Marra | .... | grip | |
| Michele Paradisi | .... | second assistant camera | |
| Mauro Pezzotti | .... | key grip | |
Costume and Wardrobe Department | |||
| Marzia Nardone | .... | assistant costume designer | |
Editorial Department | |||
| Francesco Garrone | .... | first assistant editor | |
Music Department | |||
| Angelo Giovagnoli | .... | orchestra coordinator | |
Transportation Department | |||
| Andrea Belletti | .... | driver | |
Other crew | |||
| Salvatore Borghese | .... | master of arms (as Salvatore Borgese) | |
| Tea Cappiello | .... | production secretary | |
| Alberto Mattia Cerri | .... | production secretary | |
| Carmela Compagnone | .... | production accountant | |
| Alice Di Giacomo | .... | script supervisor assistant | |
| Daniele Esposito | .... | production assistant | |
| Daniela Macrillo | .... | payroll clerk | |
| Raffaella Ridolfi | .... | unit manager | |
| Tommaso Vozzi | .... | production assistant | |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Comedy section | IMDb Italy section |
Based on the novel by Antonio Pennacci, "My Brother is an Only Child" is a tale of two brothers growing up in Italy in the turbulent 1960s and '70s. Though remarkably alike in disposition and temperament, the two siblings, nevertheless, find themselves on opposite ends of the political spectrum. Manrico (Riccardo Scamarrio), the older of the two, is a committed Communist who rallies the workers in his town to stand up for their rights. Accio (Elio Germano), his younger brother and also the narrator of the story, is a hardcore Fascist who venerates Mussolini and participates in violent protests against the Marxists. A hothead and a bully by nature, Accio (the name actually means "bully" in Italian) finds a convenient outlet for his rage and violence in the thuggery and strong arm tactics he and his fellow fascists use against their adversaries. Manrico and Accio have obviously had a tumultuous love-hate relationship their entire lives, and things get even more complicated when Accio falls in love with Manrico's girlfriend, Francesca. But each man must ultimately decide where his true loyalty finally lies - with family or with the ideological cause that moves and empowers him. This becomes an even more complex question when one of the brothers becomes increasingly disillusioned with the goals and tactics used by his side, while the other grows increasingly radicalized in his commitment to his.
Director Daniele Luchetti brings renewed life to the coming-of-age genre with his intense concentration on the sociopolitical elements of the story. It gets so bad between the two warring factions that even a performance of Beethoven becomes a pretext for bloodshed and violence. And the constant tussling between the two brothers - who can't seem to see eye-to-eye on anything except the girl they love - becomes a microcosmic reflection of the larger world around them.
Uniformly superb performances and naturalistic direction make this a complex and ultimately very moving study of brotherhood, family, maturity and commitment.