La pazza gioia

At first you wonder what a woman like Beatrice Morandelli Valdirana is doing in the Villa Biondi, an institution for women with mental health problems in the Tuscan countryside. She claims to be a Countess, rich, well-connected and knowledgeable. A little bit of a busybody maybe, talkative, inquisitive and demanding but clearly intelligent. It's not long however before you're wondering what on earth they are thinking letting her out to do some part-time work at a plant nursery. Are they mad?

The difference is that Beatrice seems to have hit it off with a new 'inmate', Donatella Morelli, who has been brought in after a suicide attempt. Unlike Beatrice, Donatella is silent, withdrawn and nervous, and has no social connections and only one number on her phone. When the mini bus picking them up from the nursery is late one day, the two women decide to make their own way back; the long way, with a few amusing diversions along the way.

With two inmates from a mental health institution on the loose, you might think La Pazza Gioia (Like Crazy) is going to be something along the lines of 'The Dream Team' meets 'Thelma and Louise', and indeed the film plays up the crazy angle for all it's worth, with plenty of broad humour to be had in their encounters along the road and their chases from the authorities. Principally however, La Pazza Gioia is an actor's game, and Paolo Virzi is working with two of the best here, giving them great material to work with.

Beatrice is a gift of a role for Valeria Bruni Tedeschi, who has a successful career as an actor in France and Italy and has drawn on her own aristocratic background as the writer/director of 'Il est plus facile pour un chameau...' and 'Un château en Italie'. Give her broad and she'll expand to fill the role, demonstrating the full range of her abilities from comedy to drama, from melodrama to more subtle exchanges and sensitivities. The dynamic is stretched further in the contrasting role offered to Micaela Ramazzotti as Donatella, who is searching for her son who has been taken away from her and into care. This gives the film a little more dramatic poignancy than the premise might suggest.

More then than just being a buddy comedy or a vehicle for two great actors, it's the fact that there are two great performers in these roles that gives the film the necessary balance between comedy and more serious matters that are raised. La Pazza Gioia looks at some of the problems faced by women and how those troubles are not recognised or taken seriously in the no-nonsense modern world. It's enough to drive anyone crazy.

I'm not a fan of movies that revolve around mentally ill people. Especially after the "politically correct" approach to how we should feel about such stories became a one-note song, the genre became more dull.

Even though this is thematically somewhere between Rain Man and Thelma and Louise, has a more natural, more organic feel to it. The acting is superb, and the colors of Tuscany shine all the way.

The story is neither too original nor too striking. It just holds together the moments and moods they have wanted to put forward, which is fine.

One of my top ten movies of all time is One Flew Over the Cuckoo's Nest. It still holds up 48 years after its' release. Crazy Life is sort of a step child of Milos Forman's masterpiece. While not as good as Jack Nicholson's best film, it is one of my favorite foreign films of the last ten years. Donatella and Beatrice are a couple of emotionally unstable women who meet at a mental hospital. They click on a shared level of being outcasts from normal society. The misfits team up for a really wild adventure. The actresses are tremendous, with a screen chemistry as good as I have ever seen. The script is both sad and funny, with a completely unpredictable story which kept me guessing from beginning to end. One slight drawback is the rapid fire dialogue here. If you do not speak Italian; and I don't, be prepared to speed read for two hours. Even with that, I highly recommend Crazy Life.

What a poor, non-requested and superficial rating from @dierregi; although the best thing about this platform is that everyone can express themselves, is so sad to read that. I advice to take @dierregi's review as an example : approach yourself to this movie in the opposite way!!! This is something about depression, loneliness, the fear of being unable to be back to a "normal life", the lack of consciousness about being unstable but also the great power of realizing it (see one of the last scene when Donatella confesses Beatrice, and herself too, what happened). This is also something about forgiveness, about giving a second chance and being mentally opened and ready to face reality, even if it's cruel, terrible, frightful. This is about a very difficult social phenomenon as well as a great lesson of embracing and not refusing.

To define madness starts by defining normalcy. 'La pazza gioia' (the English title is 'Like Crazy'), the film written and directed by Paolo Virzì in 2016 has as main heroines two women hospitalized in a sanatorium for psychiatric diseases. In general, films of this kind are characterized by an oppressive and depressing atmosphere, same as life in this kind of institutions is known to be. Not 'La pazza gioia'. To start with, the film present a candid and sympathetic point of view towards what is happening in the villa in Tuscany where the heroines are hospitalized. The story has rhythm and humor. As we get to know the two women, we begin to understand the motivations of their actions, from escaping from the closed (or semi-closed) premises they are constrained to the past with the actions that brought them into the situation of being psychiatric patients. Up to a point, the female 'road movie' formula with two women running away from their own destiny quite faithfully respects the formula in the best known classic original 'Thelma & Louise', with the characters dominating the film here as well, largely due to outstanding acting. The result is original and exciting.

At first glance, the two women are very different from each other. Beatrice Morandini (Valeria Bruni Tedeschi) assumes aristocratic manners and creates an imaginary world around her own person, a world in which she is the rich and the dominant one. Donatella Morelli (Micaela Ramazzotti) is closed in herself, she always seems in danger of self-harming, obviously hiding tremendous trauma. One is chic and neat even when her dresses fall badly, the other neglects herself. One is blonde, the other is brunette. The institution in which they are hospitalized seems liberal, tolerant, trying to help. Their running away is not the result of despair but rather the pursuit of a promordial instinct of the desire for freedom. However, the outside world turns out to be much more cruel than the one in the constrained space from which they had fled. Confronting the reality and the personal histories of each of them, which are gradually revealed to us, is more traumatic than the treatment inside. It would be tragic if everything wasn't approached in a comic register which is, well ... crazy. Undoubtedly, this is the right word.

The roles of lunatics often provide opportunities for remarkable acting performances, but it seems to me that in this film the two actresses have achieved something extraordinary. These are two roles of this kind, but the two actresses not only do not eclipse each other, but complement each other wonderfully in a relationship in which their traumas and despairs come together and generate emotion without falling into pathos or cheap melodrama. However, the film also features numerous scenes in which the comic of situations and characters offers opportunities for healthy laughter. The sunny and picturesque landscape of Tuscany that we know from so many films with touristic aromas provides the background of a corrupt and ruthless world, where the only chance and last refuge of the heroines is the psychiatric institution from which they fled. Paolo Virzì manages with 'La pazza gioia' a remarkable performance - a 'good feeling' movie about madness and despair.