Nanni Moretti returns to the film-within-a-film format with a fitfully funny new comedy that, this time, offers two films-within-a-film (plus a surreal dream sequence). It is, frankly, a relief after 2021’s terrible, soapy melodrama Three Floors, and, at a crisp 96 minutes, so much easier to swallow. In some ways a companion piece to 2015’s Mia Madre, it finds the director putting all his neuroses back on show, pontificating on everything from movie violence to streaming platforms and why wearing slippers onscreen is a fashion no-no that can only be pulled off by Aretha Franklin in The Blues Brothers.
As is usual in Moretti’s self-reflexive pieces, the main film being made within the film is the kind of film that no director would ever make and that no modern audience would ever pay to see. Set in 1956, it sees Hungary’s Budavari Circus arriving in Rome’s Quarticciolo area, escaping the Soviet invasion of Budapest.
As is usual in Moretti’s self-reflexive pieces, the main film being made within the film is the kind of film that no director would ever make and that no modern audience would ever pay to see. Set in 1956, it sees Hungary’s Budavari Circus arriving in Rome’s Quarticciolo area, escaping the Soviet invasion of Budapest.
- 5/25/2023
- by Damon Wise
- Deadline Film + TV
The captivating opening sequence of Nanni Moretti’s A Brighter Tomorrow (Il Sol dell’Avvenire) watches as a dusty old Fiat passes Castel Sant’Angelo in Rome and pulls up next to the Tiber. A man with a can of red paint and a rope steps out and scoots halfway down the stone wall that hugs the riverbank, neatly painting the words of the title. The whimsical music instantly alludes to Fellini, an homage confirmed soon after by the arrival in town of a Hungarian circus, and for all intents and purposes, the film is Moretti’s Otto e mezzo. Or at least it wants to be.
More than 20 years after winning the Palme d’Or with his shattering grief drama The Son’s Room, Moretti is back with his 14th feature for his regular appointment with Cannes. But after decades of wildly varying success attempting to stretch beyond his signature auto-fictions,...
More than 20 years after winning the Palme d’Or with his shattering grief drama The Son’s Room, Moretti is back with his 14th feature for his regular appointment with Cannes. But after decades of wildly varying success attempting to stretch beyond his signature auto-fictions,...
- 5/24/2023
- by David Rooney
- The Hollywood Reporter - Movie News
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