Saturno contro

Ferzan Ozpetek understands as well as any writer/director today the concept and attending importance of Extended Family. Much as he spoke about the importance of friends who are often more supportive than genetic family in his beautiful film HIS SECRET LIFE, he explores a similar topic in his latest exceptional film SATURNO CONTRO (SATURN IN OPPOSITION). Ozpetek and his co-writer Gianni Romoli have created a story about camaraderie, celebration, shared loss, consolation, and healing among a rather disparate group of Romans that manages to not only underscore our human needs, but also demonstrates how nearly insurmountable hurdles can be managed by the kindness and understanding of true friends.

Davide (Pierfrancesco Favino) is a much admired writer who lives with his artist partner Lorenzo (Luca Argentero) in a healthy, loving relationship. Davide has many admirers who wish to fall under his influence as a writer and Lorenzo likewise has many friends who are devoted to him. These friends gather at the home of Davide and Lorenzo for meals, parties and celebrations - a place where each of the friends finds compassion for whatever is nibbling away at their happiness. Davide's close friend Antonio (Stefano Accorsi) is married to the beautiful Angelica (Margherita Buy) who is writing a book about smoking and is not aware that her husband is having an affair with florist Laura (Isabella Ferrari) until a mutual friend, translator Neval (Serra Yilmaz) - caring for both friends' concerns - shares the information. The possible disastrous discovery is overshadowed by the sudden subarachnoid hemorrhage suffered by Lorenzo during a communal meal. Each of the friends' lives are halted while they gather at the hospital awaiting the inevitable death of their friend - each with open arms of support for Davide and each other as they find their way through dealing with the circle of life. The story places Lorenzo's tragedy near the beginning of the film: the resolution and coping of the large number of this extended family form the message and the sidebars that explore the sanctity of friendship and caring. There are myriad moments of rare beauty in this little film, moments that include the tenderness of Lorenzo's father's acceptance of Davide's relationship to his son as the funeral is passing, the wordless mending that the death of a friend brings to the dissolving marriage of Angelica and Antonio, and many others.

This is a beautifully photographed film (Gian Filippo Corticelli) and one with a musical score (Giovanni Pellino 'Neffa') that is so subtle that it supports without distraction (much like the presence of Extended Families!). The acting is of the highest quality from some of Italy's finest actors. We can only hope that Ferzan Oztepek continues to create meaningful films such as this for a world that too often settles for finding solace as well as happiness from artificial sources outside the circle of human relationships. In Italian with subtitles. Highly recommended. Grady Harp

Ennio Fantastichini, a wonderful Italian stage actor, weeps as he watches Meryl Streep in , I believe, "Out of Africa" He also establishes he is not gay but a fagot..."Isn't that the same thing?" "Yes, but I'm old fashioned" is his replay. I wish the tone had been like that, a bit more Almodovaresque. There is a need to be deep in Oztepek's world and that makes everything seem banal. Even death. Well I don't want to be too harsh. The Turkish filmmaker is one of the best Italian directors around but his universe seems to be tiny, tiny, tiny. He has a wonderful eye for beautiful men - Luca Argentero, a veteran from the the reality show "Big Brother" is scrumptious and Pier Francesco Favino is, without question, one of the best actors we've got. But, what was the film about? Friendship? Love? Death? Ping Pong? I couldn't tell and that's why I couldn't get into it. It seemed like a random trip without destination. Maybe that's it, maybe its about the aimless wondering of us humans during our brief stint on this earth. Wow! Around tables talking - with Sierra Yilmaz as a constant comic relief and a couple of wonderful moments. I wish the daringness that is, quite clearly, within Oztepek's range, could go all the way and tell us, in no uncertain terms, what its all about. He has the talent, the vision and the sensibility. Now he needs a story and a full proof script. Maybe next time.

I was really excited to see this film because I loved Hamam and I wasn't disappointed at all. Saturn in Opposition is really about a way of life that I feel lucky enough to have. It tells the story of a group of people who exist and stick together when faced with loss, difficulty and beside differences. I've always liked to think of friendship as a type of love. And I hope Mr Ozpetek would agree with me. The visual style is somewhat impulsive, but that makes the film more alive, personal. I'd recommend Saturn in Opposition to anyone who likes films about real life, friendship, emotionality, vulnerability. It carries a distinct European sensibility that I respect very much.

I saw the premiere of this film in Florence the other night, with Ozpetek and a lot of the cast (including Accorsi and Buy) in attendance. It will soon have its release throughout Italy but I highly doubt (despite its esteemed cast) that it will make it abroad--for good reason. Having liked "Le fati ignoranti" and been less impressed with "La finestra di fronte," I came to this hopeful but with some reservations. The basic theme (though not the plot, which is too uninteresting to go into) is the same as in those other movies--that family is something one forms among friends and lovers rather than the traditional tight/strangling norms that define Italian family bonds. When Ozpetek really brought this out in "Le fati ignoranti", he seemed like a fresh voice in Italian cinema: unjudgmental, sane, equally interested in straight and gay relationships, kind with actors. Things haven't really changed in the intervening years, but his approach now seems a limitation, or rather, there's nothing to get excited about or involved with in this new film. The stakes seem low, the actors seem unplugged, the melodrama feels forced, and with no especially compelling central character (like Accorsi's in "Fati ignoranti"), there's no real involvement for the audience. Tears are shed, lessons are learned, compassion is shown. This could be a TV movie. It's only the sad state of Italian cinema in general that makes something like this pass for a serious drama. It's not really a bad film or a terrible failure, just something slightly better than mediocre. Is that good enough for one of Italy's leading directors?

Once again, Ozpetek introduce us to an unorthodox gathering in the shape of a family. The gay couple Perfrancesco Favino and Luca Argentero are a model couple. Lovely, talented, kind. The heterosexual couple, Margherita Buy and Stefano Accorsi are also kind even if infidelity and other obstacles complicate their life but only momentarily. Now, okay, it all looks fine but I couldn't quite figure out what was I looking at. The story unfolds without any rhyme or reason. Did I miss something important? Favino is totally credible and Argentero is eye candy of the most delightful kind. Ennio Fantastichini is funny and pathetic, Stefano Accorsi is Stefano Accorsi and Margherita Buy manages a very civilized matrimonial crisis. Serra Yilmaz does her thing, beautifully of course, but hardly new. The only surprise was Lunetta Savino, an ex hairdresser and Argentero's step mom. Her character brings a much needed truth to the proceedings. It is, perhaps, the best written character. Somebody asked me what the film was about and I couldn't quite answer. I think that's were the problem resides. If Ferzan Ozpetek had something to say I completely missed it. However, the beauty of the people on the screen kept me awake and somehow engaged.