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NAnne Moretti came to Cannes with this impressive and compact soap opera ensemble film. The film tells about four families living in the same apartment building. It is adapted from the best-selling book “Three Floors” by the Israeli author Eshkol Nevo. And transplanted from the original scene in Tel Aviv to Rome.
There is a soft sentimental element, especially in the way the plot lines are neatly tied up, but there is a lot of passion and originality for storytelling, and there is also an echo of Moretti’s greatest film and the Cannes Palme d’Or (perhaps Deliberately designed) winner, Son’s room, Starting in 2001.
Lucio (Riccardo Scamarcio) and Sara (Elena Lietti) are a very stressed professional couple. They have a baby and they often need a nanny to take care of her-so they are happy to leave her to the old couple next door: Giovanna (Anna) Bonauito) and Renato (Paul Graziosi). But Lucio was disturbed by Renato’s apparent dementia and his strange, marginally inappropriate tactile relationship with Lucio’s little girl when they sent her away.
Nanni Moretti himself plays Vittorio, he is the judge and disciplined father of his erring son Andrea (Alessandro Spedut), who just got drunk while driving Killed a woman. What makes Andrea’s more tolerant mother Dora (Margarita Bouy) feel terrified is that Vittorio sternly refuses to pass any legal means to give him a milder sentence, thinking that the prison will finally give him He learned a lesson, and he was almost relieved.
And Alba Rohrwacher (Monica), played by Alba Rohrwacher, performed well. Her husband often traveled on the oil rig. Because she couldn’t return in time, she had to give birth alone. Her loneliness was worsened by postpartum depression and delusions-these manifestations are very simple.
When Lucio was convinced that Renato had been abusing his daughter, the turning point of the drama or melodrama appeared. Therefore, when Renato’s teenage granddaughter Charlotte (Denise Tantucci) appeared, he had a clear and very sexual fascination with Lucio, and he used her to try to monitor Renato— -This kind of intimacy is too much and has disastrous consequences.
This is a disgusting irony: Lucio suspects abuse, and then he himself is accused of abuse. But the strange thing is that the film itself seems to have no similarities, just another one in the accumulation of terrible events.
As for Vittorio and Dora, his response to André’s wrong behavior (obviously part of the long-term behavioral pattern) and his response to the more tolerant Dora’s terrible ultimatum are almost Old Testament harsh. This is very different from the heartbreaking father-son scene in “Son’s Room”.
There are twists and surprises—the clever ellipsis usually moves forward periodically over time. In some ways, this film is no different from Woody Allen’s mid-term series: with firmness and force. Way to communicate, but it doesn’t have much depth. It may be too tense or even absurd, but lively and from the heart.
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