Hungry Hearts

I'll admit, I was only interested in seeing this initally because I'm a huge Adam Driver fan. I knew nothing about the plot going in but found myself hooked on what I found to be a really stunning film.

At times the film almost feels like theatre, with some scenes being filmed in such a way that you feel like you're in the room with them. In a way it makes Jude and Mina's relationship feel all the more real; from their unlikely romantic start right through it's eventual unravelling. There are times in the film where Mina's presence almost evokes a sense of horror in the film, carefully crafted by the film's score.

Hungry Hearts perhaps finds its best quality in it's tonal shift from beginning to end, as well as the outstanding performances by both Adam and Alba, who give such an honesty to the characters that it's hard to feel as if you don't know them personally. I think the film does a great deal to question the moral stance of the viewer: each of the main characters makes decisions throughout the film that are questionable at best, but when put into context are almost justified by their personal idea of what is best for the baby. Almost.

Coming out of the film, it's hard not to imagine what might have happened if Mina's mental illness had been treated, and how that might have affected the films trajectory. Either way, I know Hungry Hearts will sit with me for a while.

The opening scene is funny and mortifying at the same time, giving a false sense of a under budgeted romantic comedy to the film, but then it gets darker. The awkwardly sweet duo become one, they fall in love and hit off. Step by step, things get serious and these lovebirds turn into an unnerving couple as the movie gets psychological and somber.

Originally - in the book - in Italy, the story was transposed to New York City because the Italian director thought that it belonged in there. I don't know if I agree completely but given what is depicted in the film I understand this choice.

Saverio Costanzo used tight shots and close ups to bring the intimacy needed for the story. As the story develops each scene gets a shade darker and the intimacy of the shots seem to illustrate Jude (Driver) and Mina (Rohrwacher)'s state of minds. It's subtle and masterfully crafted to bring you a place where you never thought you'd go. The chips fall into place and you realize what you're in for, Mina and Jude start to make sense and a chill crawls up your spine. The slight sense of dread takes over just enough to keep captivated, but not fully engaged to make you too uncomfortable and wary. If it was done any other way it would have probably been too hard to watch, instead, like a car crash you find yourself watching these people on their way down the rabbit hole.

@wornoutspines

Judging by the comments of previous reviewers, Saverio Costanzo's film has divided reviewers and audiences alike. Perhaps this is due to its combination of tones: the apparently artless beginning that does not prepare us in any way for the film's major issue, that of how to reconcile one's inner beliefs with the realities of bringing up a child. Or perhaps it's because of the desperate measures adopted by the child's grandmother (Roberta Maxwell) in an attempt to ensure the child's future welfare. Some have dismissed them as melodramatic: one wonders what they might do in a similar situation.

The main point at issue here is one of obsession: Mina (Alba Rohrwacher) believes that her newly-born son is somehow special and needs to be "protected" from supposedly corrupting influences such as doctors, red meat or sunlight. The fact that this results in the child's attenuated growth is a side-effect. Her husband Jude (Adam Driver) tries to make her see reason (as he perceives it), but fails to do so. Director Costanzo invites us to reflect on the morality of both protagonists - is one "right" and the other "wrong"? Or are there other issues involved here?

What gives the film its particular resonance is its style. Very little music appears on the soundtrack - except at the end; hence we as viewers are not guided into making a specific response to what we see. Fabio Cianchetti's camera is fond of consciously out-of-focus shots, transforming the characters into other-worldly beings rather than New Yorkers. This strategy reminds us quite powerfully of how anyone departing from ideological or social behavioral norms is invariably dismissed as "deviant." Sometimes this visual technique seems excessive - as for example, when Mina is shot in such a way as to emphasize a large head and skinny body - but we can understand the purpose behind it.

In this kind of film, it is difficult to maintain some sense of dramatic balance. All credit, then, to the three protagonists, whose performances seem inspired by the situations contained in the screenplay, and refrain from dramatic or gestural excesses.

Great acting, but for me it was difficult and painful to watch. The plot, combined with the way it was filmed, these weird angels, it was a bit too much.

I have an impression that people disliking this movie just can't stand the harshness of real life or what it can be like. My life and my family life is warmth and mutual trust and understanding, however, I was on the verge of postnatal depression, so i can relate to this. I hate the way Mina reacts, though, but the actress's performance is amazing. I was so depressed when my first child was born - but I always blamed myself. it lasted just for a month or so and I was aware that I wasn't right - it was just mum's striving for perfection - but I can also relate to the fact that there are women who didn't have the support and who just have the wrong perception and this is what i liked about this movie - the reactions of all charters are so believable... Being a parent I felt this so deeply... Adam and Alba, and also Roberta were amazing in their parts. I like the way camera angle changes to show the state of mind of the characters.... The ending could have been just a little bit more elaborated....