Giuseppe Tornatore
La Sconosciuta

After the controversial and debated "Malena," Tornatore returns to tell the dramatic story of a woman. A cruel story, sharp as glass, born from the chronicles of our increasingly dark days.

If in his previous film, gossip was one of the triggering reasons for the story, born from fantasies more or less fueled by envy and suspicion, here what lies at the heart of the story on screen is nothing but truth... sad, painful... but still truth. The protagonist, Irina, is a 32-year-old Ukrainian woman who arrives in Trieste in search of a house and a job. It's a story that could immediately be related to that of many women from the East who come to Italy, except for a few small details.... The girl indeed has too much money hidden in her apartment, does not need to work to live, and her only goal is to infiltrate the everyday life of a wealthy family of goldsmith artisans, the Adacher, living in the building opposite hers. To achieve her goal, she wins over the building's concierge by promising him a percentage of her salary, convincing him first to hire her to clean the luxurious staircase of the building and then, when the Adacher's nanny falls into a coma, to put in a good word with them to be hired in place of the unfortunate woman. From that moment, her everyday life echoes that of the family, but especially the embraces of the little girl in the family, Tea, a 4-year-old child suffering from a rare disease that prevents her from having reflexes and defensive reactions. Precisely because of the tender relationship developed with the little girl, Irina decides to help her escape her situation of perpetual victimhood and react to abuse and falls...

However, what haunts the peaceful existence the woman has managed to carve out for herself are the memories. Memories of a dark and murky past, of an idyllic love that has vanished, of violence and abuse... memories that, in the end, might not be too far away... and here I am forced to stop... Forced, yes, because there are many points that should necessarily be revealed, essential to understand the entirety of the themes and facts addressed by the director in this film... but I would betray its plot, its being, made of shadows and mystery... and also because, in one way or another, we are facing a mystery.

Analyzing the narrative phase, one must first admit that the way of telling this story was Tornatore's first winning choice. If, in the end, the subject was well-suited to the development of a detached film, viewing the facts from a certain distance, the Italian director instead chose the path of the harsh and ruthless noir, which at times can even appear exaggerated. A bold choice that definitely deserves praise. His work is then truly impeccable... regardless of personal tastes concerning his films, Tornatore is someone who knows how to do his job well... very, very well. His style perfectly adapts depending on the locations where the scenes are shot... it is sumptuous and elegant in the prestigious Adacher palace, cold and detached in Irina's moments of solitude, frenetic and disturbed during painful and mortifying flashbacks, warm and involved in the sweet ones (which in reality will barely be two!). The cast is up to the task... The protagonist is truly exceptional, embodying all the aspects that a woman with similar past experiences might have... Pierfrancesco Favino is an apathetic husband, hardly decisive in his family's life. Claudia Gerini, on the contrary, is a determined woman, clutching firmly everything she has hard-earned. Lastly, Michele Placido deserves mention as one of the most disgusting and ugly characters (in a good sense) I've seen.

The music that accompanies the unfolding of events is all beautiful, with the remarkable collaboration of maestro Ennio Morricone, now a regular presence in the cast of the Sicilian director's films. Unfortunately, it's regrettable to note that one of the most evident flaws of this film is precisely linked to the maestro's role. Indeed, throughout the film, the music is really too overwhelming, too clever and insistent in trying to create tension for the viewer... it seems like every musical phrase is there to remind you that something will happen soon... almost like in horror films. This somewhat clashes with the film's strongly realistic imprint in general, and unfortunately gives it something television-like.... It's impossible not to notice that even with less musical accompaniment, the film could have been even better, considering that the scenes where it is completely absent have more tangible drama, more near... like, for example, the scene of the storytelling in the prison. Another small flaw is found in some phases of the plot. In certain points the plot remains suspended, leaving question marks as big as trees, and certain events unfold without a real reason to justify them. Finally, removing the circus scene would have certainly been beneficial. 

Ultimately, a strongly recommended film, a truly excellent Italian product, one not seen for quite some time.