La stanza del figlio

This is one of the movies I wouldn't like to rate. But I would recommend each and everyone of you to watch it. I'm sucker for Palme D'or winners and how could I miss this one? I'm pretty sure the concept of losing out a family member have been explored by many directors, but there is something unique about this one. Directing himself in the movie (I really think it's a very difficult job to do that), Nanni Moretti hasn't put a foot wrong. And, if you're looking for a very good screenplay and some breathtaking cinematography, this is not your thing. This movie is all about actors pouring out their emotions on screen and a really sweet background score. What got me raving about the movie is how we blame every single action of ours when things don't go our way (I think majority of us to do that). La Stanza Del Figlio is simplicity personified. I'd say a must watch.

a film like a parable. fresh, honest. and cruel. because it is only reflection of ordinary reality. nothing else. a ladder of regrets, angry and lost of axis. a tragedy but in a special form. because its heart is fragility. with many nuances and games of nuances. with words as circle of deep silence and fear as wall for self protection. it is beautiful because it is wise image of a piece from society. with many definitions, all fragile, with many crumbs of joy, hope and sadness. and with bones of grief. like a confession. like mask for survive. like smoke bridge.so, nothing new. only slices of search for sense. and the silhouette of escape territory.

It takes a certain amount of cheek to write, direct and star in your own films and Nanni Moretti's earlier work, 'Carao Diaro', was certainly eccentric, as he played himself as an annoying and socially limited loner. In 'The Son's Room', he proves he can act a role, in a more orthodox portrait of a family struggling to come to terms with the death of their son. The portrait of inter-generational relationships seems over-idealised (and how many teenagers are into Brian Eno?), but the real strength of this film is its sense of inicidentality. Instead of playing as straight melodrama, we see the family trying to continue with their lives, and in particular Moretti's character, a psychotherapist, interacting with his patients. The importance attached to the chance juxtaposition of events is reminiscent of Kieslowski, as is some of the dialogue: stylised but profound, even (or even because) its relationship to the main events is oblique: the whole carries meaning precisely because the individual parts are not overloaded, everything is potentially symbolic but nothing is forced. At the end of the day you believe in these characters; as a result, their tragedy rings with truth.

I read almost all the reviews, before watching the film. I was impressed by the contradictive opinions. Some 1500 users (approx. 10%) rated it from 5 to 1. Personally, I was fascinated by the film. On the other hand I will never blame anyone who disliked it. I just try to understand why someone rejects what I like and that's why I read the "negative" reviews twice, trying (like Giovanni) to analyze reviewers' characters. Certainly this is not a film for Hollywood/Marvel fans. European cinema deals mostly with real people in real life incidents and stories. Therefore they apply to completely different audiences than the above mentioned fans. So, for European mentalities the film is very good, believe me!

THE SON'S ROOM (2002) ***1/2 (ITALIAN W/SUBTITLES) Nanni Moretti, Laura Morante, Giuseppe Sanfelice, Jasmine Trinca, Sofia Vigliar. Excellently realized depiction of a loving Italian family who find themselves questioning a bleak future when a tragedy strikes shaking them out of their idealized trappings and seeking resolution to unanswered questions. Moretti, one of Italy's finest comedians, does a superb low-key job here in acting, directing and co-writing (with Linda Ferri and Heldrun Schleef) while maintaining an even-keeled balance of emotions, high and low, throughout thanks also to his talented cast. Haunting, humane and ultimately heart-rending yet never condescending and a final note: one of the most naturally performed interpretation of a nuclear family that truly loves one another equally; a damn rare thing to marvel.