telespallabob

To understand this film, one must jump ahead 17 years, take two minutes from Nanni's most controversial film (Caro Diario), and then bring them back. Who were the ones shouting horrible things in the protests? The same ones who were extras or protagonists in Nanni’s films. Fabio Traversa would end up in "Le Comiche", we know who Mughini and Minzolini are: all three are there (but digging deeper, we find others). Nanni Moretti does everything on his own: he takes on everyone, including himself, using the magnificent art of irony. That’s why he shouted things that were right, because despite being debatable, he struck without hypocrisy when others, overnight, switched from protesting with masks to condemning the Red Brigades. And he does it on a low budget, demonstrating that sometimes you just have to believe in it. (Ir)realistic? I don't think so. A unique case? It doesn't matter. Is Italian cinema in crisis? Where? When? These are the years of the most devastating hits (“Salò,” “Todo Modo,” the last films of Italian Comedy), and where there is primarily entertainment, there is a monstrous quality, both technical and stylistic. There is no contestation, no revolution at stake, or at least, none according to the frameworks of current cinema (and the considerations of the years of lead).