I giorni dell'abbandono

A superb performance by Margherita Buy playing an abandoned wife who recovers her self-consciousness and finds the strength for a new start. The story follows a classical, quite conventional path but the real strength-point is the sharp but sympathetic look upon the sudden emotional earthquake in a normal, everyday family life. While avoiding psychological commonplaces, the movie sketches realistic characters in a realistic situation. Something different from many hysterical, exaggerating plots of this kind, where everybody is continually shouting in each other's face. A clever, delicate movie with some touch of humour. Luca Zingaretti is also remarkable as the villain.

This is the story of an abandonment, where a family like any else is left by the husband. It is intense, brave, and not for the faint of heart.

It will be most significant for those of us that underwent this experience in their life, as dumped partners and parents, as neglected children. The precision with which all the psychological and practical details of a family break-up are described is surprising - but also, if you went through it, deeply disturbing. In this case, I recommend caution. But, it could also help you in elaborating your loss, and getting some hope in the end.

For anyone else, it still is worth seeing, for a memorable performance by one of the best Italian actresses of these years, and to try to get a glimpse of these feelings.

This is one of many movies on the subject of couples breaking up, based on the second novel of Italian writer Elena Ferrante, a work that garnered critical and popular acclaim. Olga, a stylish, attractive woman in her forties is informed by her husband Mario that he has taken up with another, younger woman, and intends to pursue his new relationship. Mario offers the usual phony pseudophilosophical explanations to justify his lust for youth and Olga goes through the ordeal with predictable reactions: feelings of inadequacy, rage, inability to accept the situation with equanimity, then a sort of numbed reconsideration and the realization that her life has been destroyed and that she may need to find a new meaning in other relations. Olga's and Mario's two children are confused, trying to juggle love for their father and the realization of his misconduct. Then Olga tentatively initiates a relation with Damian, the musician in the apartment below hers, until then a hello/in/the/corridors acquaintance.

This is a curious movie. Some of the scenes are heavy handed, like that where the initial intimacy of Olga and Damian is frustrated by her rage toward Mario and his mistress. Then the movie veers toward fairy tale (or magic realism) territory, and we may imagine that some sequences (like the concert, or Damian's place in it, or even Olga's relationship with Damian) are imagined by Olga. The title, Giorni d'Abbandono plays with the dual meaning of the word; it means abandonment of a person by another but also to abandon, to let yourself go, follow your heart, your feelings, your intuition.

On the positive side acting is good all around with special mention for the always excellent Margherita Buy. Cinematography is first rate in interiors and exteriors and music does its job unobtrusively. I found the movie interesting although I don't think it totally attains its objectives and, apparently, Ferrante objected to its take on her book. Anyway, it deserves a watch. A remake (with almost the same name and script by Ferrante) is in progress, helmed by Catalan director Isabel Coixet and starring Penelope Cruz.