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Un giorno speciale (2012)

Gina and Marco are living in the suburbs of Rome. The two meet on a very special day: their first day at work. They have a future that awaits them and really seems at hand. Gina is about to... See full summary »


(novel), (story) | 4 more credits »
3 wins & 2 nominations. See more awards »


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Credited cast:
Filippo Scicchitano ...
Giulia Valentini ...
Roberto Infascelli ...
Autista deposito
Antonio Zavatteri ...
On. Balestra (as Antonio Giancarlo Zavatteri)
Daniela Del Priore ...
Rocco Miglionicco ...
Rest of cast listed alphabetically:
Eleonora Albrecht ...


Gina and Marco are living in the suburbs of Rome. The two meet on a very special day: their first day at work. They have a future that awaits them and really seems at hand. Gina is about to realize her dream of becoming an actress, while Marco for the first time has found an opportunity that allows him to start dreaming: a job in a car rental company as a driver. They are enabled to know each other since his first duty is to drive Gina to an appointment, and given a delay, they have to share the whole day. This journey will take them from the periphery to the center of the city, will serve both to compare their experiences and think about a future that has already begun. Written by Anonymous

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Release Date:

4 October 2012 (Italy)  »

Also Known As:

A Special Day  »

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Aspect Ratio:

2.35 : 1
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User Reviews

young couple connect (or not) after disillusioning jobs
13 November 2014 | by (Canada) – See all my reviews

Perhaps the central metaphor in Francesca Comencini's A Special Day is the synchronized behaviour to which capitalism forces even the individualists. The film traces the meeting of pretty 19-year-old Gina, whose aspirations to be an actress have led to this job as a congressman's "escort," and Marco, a loser who's excited about his future on this first day of his job as chauffeur. Both are economic outsiders, living on the fringe of Rome, but both aspire to get to the hub.

As they idle away the day together, waiting for the congressman to be free, Gina's first idea is to visit a synchronized swimming competition. Her expensive dress and stiletto heels may set her apart from the plebeians in the audience, but her difference and the others' attention give her a panic attack. She senses the danger of so distinguishing herself. Later she synchronizes a school of fish by running her finger up and down their glass cage. But her power is illusory, as we see when in her wild independence she gets a fish tattoo behind her ear and when she brusquely services the congressman. She's his fish. That brusqueness dispels our sense of her idealism. For all her worldliness and free spirit, she's still trapped in the system that exploits even — especially — the beautiful.

Even the heroes' mothers are trapped. Gina's mother obviously makes great sacrifices to dream of her daughter's stardom. She must understand the sordid reality behind her daughter's urgent shower at the end. Marco's mother gives the priest free mending and sewing services in hopes he will advance her nebbish son.

The mothers will persist in their illusions because that's what mothers do. But our heroes may awaken as a result of this day. The film opens with Rome awakening, first with the street sounds -- mainly dogs -- behind the dark credit backgrounds, then with the dawn. It ends at night, with Marco yet again messing up his career hopes by quitting his job and Gina idly absorbed in the fantasy world of her TV. Whether they form a romantic union or not, neither one seems equipped to fulfill themselves in this world. As we cling to the possibility of a romantic ending we prove as delusional as them. Marco proudly blows his rare job opportunity but Gina — by blowing not her job — arguably fares even worse, in self-respect.

All three Comencini directors enjoy youth and beauty and centre their stories on that attraction. But they know the real world doesn't fairly respect even those thus gifted. That bleak insight proves the neorealist streak underpinning the romantic fantasy.

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