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Beata ignoranza (2017)

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1:11 | Trailer
A rivalry forms between two teachers who are polar opposites: a strict, old-fashioned by-the-book instructor and his cheerful young counterpart interested in social media.

Director:

Massimiliano Bruno
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2 nominations. See more awards »

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Cast

Cast overview, first billed only:
Marco Giallini ... Ernesto
Alessandro Gassmann ... Filippo (as Alessandro Gassman)
Valeria Bilello ... Margherita
Carolina Crescentini ... Marianna
Teresa Romagnoli Teresa Romagnoli ... Nina
Giuseppe Ragone Giuseppe Ragone ... Gianluca
Malvina Ruggiano Malvina Ruggiano ... Costanza
Emanuela Fanelli Emanuela Fanelli ... Iris
Luca Angeletti Luca Angeletti ... Nazi
Luciano Scarpa Luciano Scarpa ... Mayer
Teodoro Giambanco Teodoro Giambanco ... Lorenzo
Susy Laude Susy Laude ... Roberta
Michela Andreozzi ... Dott.ssa Andreoli
Alessandro Di Carlo Alessandro Di Carlo ... Bidello
Pietro De Silva Pietro De Silva ... Ulderico
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Storyline

A rivalry forms between two teachers who are polar opposites: a strict, old-fashioned by-the-book instructor and his cheerful young counterpart interested in social media.

Plot Summary | Add Synopsis

Genres:

Comedy

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Details

Country:

Italy

Language:

Italian

Release Date:

23 February 2017 (Italy) See more »

Also Known As:

Bendita ignorancia See more »

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Box Office

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Company Credits

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Technical Specs

Runtime:

Color:

Color

Aspect Ratio:

2.35 : 1
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User Reviews

OK Italian Character comedy
24 September 2017 | by MozjoukineSee all my reviews

This attempt to recycle the 2015 SE DIO VUOLE /GOD WILLING opposition of Marco Giallini and Alessandro Gassman works out quite well, despite a change of direction half way through.

We start off with teacher Giallini, who confiscates his kids' cell 'phones at the start of his lesson, discovering his old rival Gassman has been appointed to his school with a philosophy of ignoring paperwork because everything they need is on the Net. They nearly come to blows to the delight of their students who's video of the confrontation goes viral.

Complications ensue when their shared daughter (see the movie!) arrives pregnant with her "quirky" film crew to have them switch their approaches for her documentary. This element gets lost as we explore the leads' character short comings - notably in their dealings with women. The appealing Valeria Bilello is particularly badly used.

There are a few attempts to open up the form, as with the early scenes of turning to the audience or Carolina Crescentini's answering back from the mortuary photo but mainly the piece coasts on the opposition of the two leads backed by skilled players and brisk high key film making.


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