A car is knocked off-course on a quiet suburban street and crashes fatally into the front room of a well-furnished apartment. In the flurry of bricks and wall plaster, it lands inches from the feet of a young girl who stares the wreckage down with a cool, deadpan expression. If this is your classic “inciting incident” for a full-bodied, conventionally structured drama, its oddly comic denouement––coupled with the main characters all appearing to survey the outcome in little, rhythmic intervals––mark Three Floors as a work by Nanni Moretti, who never met an instance of bourgeois life he couldn’t mischievously ironize.
This irony, self-awareness, and self-referentiality may elude viewers of this new ensemble drama: there’s no obligation to always keep a director’s prior work in mind, but have they forgotten Moretti’s influence from psychoanalysis, its invocation to scope “what lies beneath”? Sometimes a cigar is just a cigar,...
This irony, self-awareness, and self-referentiality may elude viewers of this new ensemble drama: there’s no obligation to always keep a director’s prior work in mind, but have they forgotten Moretti’s influence from psychoanalysis, its invocation to scope “what lies beneath”? Sometimes a cigar is just a cigar,...
- 7/21/2021
- by David Katz
- The Film Stage
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