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‘Nostalgia’: Film Review | skin 2022

Mario Martone’s emotional drama Nostalgia Point to the director on duty, or maybe it’s more correct to call him back. Previous films by the Italian author, such as rehearsals for war s the smell of bloodHe praised her distinguished style and moral clarity. Martone’s recent projects – imperfect and multifaceted historical narratives – were unpopular.

Inside NostalgiaAdapted from the novel by Neapolitan writer Ermanno Rea, Martone interrupts its recent heyday to present a more direct, suspenseful drama. For nearly two hours, the film could use some extra refinement: some tweaks to help make some of the sequences more dynamic. Still, with excellent actors, a confident director and an experienced cameraman, Nostalgia An incredibly impressive film that finds viewers outside of Italy.

Nostalgia

Final result

Discreet and satisfying direct drama.

Events location: Cannes Film Festival (Competition)
Issue: Pierfrancesco Favino, Francesco Di Leva, Tomaso Ragno, Aurora Quattrock
Director: Mario Martone
Writers: Mario Martone, Hippolita Di Maggio, Ermanno Rea (according to the novel)

1 hour 58 minutes

NostalgiaThe key to its effectiveness is limitations. This is not a complicated biography struggling with the life and ideas of an important Italian figure. This is a more familiar story set in modern times: decades later, abroad, a man returns to his neighborhood in Naples to close. Sad memories quickly overwhelm him and he admires the place he swore to leave. Contains a narrative Nostalgia Sharp focus and clarity. Rather than filming the entire city of Naples, Martone narrows the film’s location down to one area: Rione Sanita, an area of ​​poverty and government neglect. This is the website the director visited in his 2019 movie Mayor of Rio SanitaAnd this acquaintance completes this project with a crucial intimate relationship.

The return is an act of meeting the old and the new at the same time, and Martone’s ability to convey that touch is one of them. NostalgiaForces. The film begins with Feliche Lasco (Pierfrancesco Favino), a 55-year-old inhibited businessman, returning to Sanita to visit his elderly mother Teresa (Aurora Quattrock). The neighborhood, where he lived until he was 15, has changed radically, but Felice still doesn’t (or can’t) admit it. What she does know is that her mother is half-blind and has fraudulently moved into a dimly lit apartment on the first floor of a rundown building. An exciting discovery leads Felice to find her new home: a larger apartment in the garden with lemon trees.

Martone paints a painful portrait of the physical and temporal distance between mother and child, allowing us to understand part of the motivation for Felice’s return. The particularly moving sequence in which Felicity bathes Teresa bears witness to how their relationship has changed over the years: the mother now cares for the child. It is through these scenes that we realize how much Feliche has changed: after traveling with his uncle to Africa, he settled in Cairo, where he married a woman (about whom little is known), opened a successful business He learned Arabic and became become a Muslim.

Teresa’s death, unexpected, not dramatic, ends Felice’s relationship with Sanita. He has no real reason to stay, but he doesn’t feel ready to leave either. You find yourself walking down alleys, following familiar paths while reminiscing about memories. This is yet another reason for the return of this Flannery that Martone links today to Felice’s adventures.

Oreste Spasiano (Tomaso Ragno) was one of Feliche’s best friends, in fact the brother with whom he walked the streets of Sanita, swimming naked on the beach and committing petty thefts. When Felice fled the country after a fatal accident, Orestes stayed. Forty years later, he is known simply as Badman, the leader of the most dangerous gang in the neighborhood. Despite several warnings from the current residents, including local priest Don Luigi Rega (played by Francesco di Leva), Felice wants to talk to Orestes.

Felicity’s memories of a famous gang leader are different from those of the neighborhood. He thinks he and Orestes still have a lot in common. They are the teenagers who walked Sanita, boys with deep fraternal ties. However, memories, like nostalgia, can be a trap; Look at them long enough and you risk losing your current vision. This is what will happen to Felice: her week turns into months on the Sanita and she finally decides that she wants to buy a house and never leave. A crudely translated quote from Pasolini, who opened the film, kicks off Felice’s movement: “Knowledge is nostalgia.”

Indeed, there are lessons to be learned from the past, but you must be open to them. Fellis seems to have informed the residents of the complex by starting with new families and ending up with refugees, he can’t shake the interpretation of the past. Favino plays Felicia with calm, a distance that conveys how weak Felicia is to herself. The person begins to feel bad for her and then experiences impatience due to her misplaced self-assertion and insistence.

In the context of Felice’s drama is Sanità, a neighborhood. Martone and DP Paolo Carnera revive the Neapolitan neighborhood, embellish its beauty and suggest why the city faces high rates of poverty and crime. desire Nostalgia More to offer, however, in terms of history, is the bridge between Felice’s memories and conditions today.

Felicia and Orestes finally meet, their date bursting with tension. Favino and Ragno have strong performances as two friends, actually brothers, whose blurry relationship is plagued by betrayals and misunderstandings. They silently maneuver their large stage, highlighting how the time and distance between two men has changed (and hasn’t).

What could have used the same level of control is Martone’s treatment of nostalgia, which ranges from tiredness to telegraph. The film obsessively closes the theme, exploring his romance and her dangers. But at some point, he starts to feel elliptical and dissatisfied, diverting attention from the perfectly studied man struggling to put his head back.

Source: Hollywood Reporter

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