Trust

Trust (*Confidenza*), directed by Daniele Luchetti and based on Domenico Starnone's novel, is a delicate and compelling drama that dissects the intricacies of trust, intimacy, and betrayal. With Elio Germano at the helm, the film explores how the sharing of secrets can both bind and destabilize relationships over time.

Elio Germano delivers a masterful performance, embodying a man grappling with the weight of vulnerability and its consequences. His portrayal is subtle yet deeply resonant, capturing the complexity of his character's emotional journey. Pilar Fogliati and Vittoria Puccini shine as women who challenge and complement his character, bringing depth and nuance to their roles.

Daniele Luchetti's direction is intimate and restrained, focusing on the emotional tension and quiet moments that reveal more than words ever could. The screenplay, co-written with Francesco Piccolo, deftly adapts Starnone's layered narrative, though it occasionally meanders, elongating certain sequences at the expense of pacing.

Visually, the film is elegant, with a warm and understated cinematography that enhances the intimacy of the story. The themes of love, power, and vulnerability are explored with thoughtfulness, though the film sometimes veers into overly familiar territory, missing opportunities to push its emotional depth further.

Trust is a thought-provoking and emotionally rich film that will resonate with viewers who appreciate introspective dramas. While not flawless, its strong performances and evocative storytelling make it a rewarding cinematic experience.

7/10 - a poignant and well-crafted exploration of human connections and fragility.

A secret, confided by a teacher, Pietro, to his lover Teresa, an ex-student (but not to the spectator, at least not in the beginning) is the center of this film. The secret is bad enough that Teresa leaves him because of it, but will from then on threaten to reveal it, which supposedly has the power to ruin the life of the teacher. Pietro, by the way, is a passionate teacher, who later becomes famous for writing on his "pedagogy of affection". He also starts a family, marrying Teresa's math teacher. Teresa doesn't take that well.

I tend to like films driven by dark secrets (particularly of the non-magic realistic kind), so I decided to watch this, even though I didn't have all too high expectations. But the film turned out to be very good. The performance of Federica Rosselini is spectacular; her Teresa is very fascinating and even more scary, and Rosselini manages to deliver her part far from any Hollywood cliche of such a role. It would work very well in a proper horror film, which this one isn't, even if just as horrifying. Elio Germano as Pietro comes over as rather bland, but the more the film goes on, the more sense does his portrayal of Pietro make. With hindsight, the story can be seen as straight and fairly simple, and from earlier information quite a bit can be guessed, but surprisingly it managed to keep me on tenterhooks almost all the time. With all the psychological depth, allusions and allegories there is enough material and depth to sink the teeth in. One of the major draws is that we figure our over time what kind of person Pietro is, and by the end we may think of him rather differently than in the beginning.

Then we have a very special soundtrack by Thom Yorke. In some scenes the music is really very imposing. As a music lover I appreciate the quality of the music, but having such a dominating soundtrack is certainly not everybody's cup of tea. It contributes very well to the suspense (to the point of occasionally exaggerating it); in other parts, it defies expectations and comments on some scenes in a somewhat ironic manner. Chances are that all this is as it was intended, and the music alone could be a reason to watch this once more (maybe also spotting more of the visual details). The cinematography is also impressive, as we know it from Italian films.

The end of the film doesn't answer all questions. I tend to get annoyed by directors who leave important questions open if I suspect that there isn't really a realistic and convincing way to answer them. It is easy to create suspense for a lazy director who doesn't feel the need to provide a credible resolution. However I'm fine with the end of this one as enough hints are given so that I can put together an explanation for myself that makes sense. Alternatively occasionally there are parts that turn out to have happened just in Pietro's imagination so we may start to question the reality of some other things we saw, which allows for an alternative interpretation that makes sense as well. This means that we are not left with knowing everything, but enough, as far as I'm concerned, and of course much potential for thinking about this for some time.

Overall this is a suspenseful, intelligent and deep film that I liked a lot. It is not without flaws (the suspense atmosphere is sometimes overdone; not all acting is at Rosselini's level; not sure I concur with any implications regarding the education system), but these are minor. 8.6/10 rounded up.

With the exception of Paolo Sorentino (of whom I'm not a fan, but can appreciate), contemporary Italian cinema is desperately weak, bland, and characterless. Like a San Remo song which isn't Al Bano.

I was mislead to watch this nonsense by another reviewer.

Horror?! We must have watched different films.

This is an absurdly extended version of Radiohead's video where someone tells others a supposedly horrible secret and they lose their mind.

The characters in this film are shallow, the dialogue superficial and senseless. No, this isn't Sorentino.

There's nothing to keep the interest. Alright, I get it - most people keep horrible secrets and are altogether complex, unfaithful, and possibly horrible.